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off THE HANFO 2D COLLECTIO ae 


" 


_ Remarkable Examples. of Rembrandt, 
Murillo,ivan Goyen, and Later | 
Painters. 


Score excellent paintings by ‘the Romanti- 
(cists of the last century in France should 
Shave existed in Chicago, hardly known to! 
§ the collectors and the press, seems at first 
Voiush surprising, but it is only an incident! 
¢ like Many others. The people who make 
}mMoney quickly and after a few years passed | 
i}in Burope are able to appreciate ayhat ig) 
| s0ood in art are more than, we\imagine. | 
‘Every day examples of the{ Kind are com=| 
ling to light. Apparently. the late P. C,) 
} Hanford belonged to this edtegory, and the 
phigh average of the \Hanford collection, 
} which will be sold next Thursday by order! 
/of the widow, is the result. 

} The gem of the collection, which does not! 
}lack precious canvases, is a portrait, b 
|; Rembrandt giving with infinite spirit and! 
those dramatic effects: of light and shade 
amd color of which he was past master the! 
-likeness of some scholar, scrivener, or 
, Seribe, With pen in hand and open book, 
) before him. The dull red coat ana brown 
Pishered cap blend with the olive-toned! 
/ background and give a subdued richness to} 
(the composition. The right hand holding 
(the pen is painted in broad, easy strokes 
/ without the slightest attempt to model the. 
'fmgers for minute inspection, while the leit 


hand is almost lost in. the shadow, but 
holds. its position as part of the composi- 
fion all the same, It rests on the open 
‘book. Neither book, nor white bands fall- 
(ing from the throat, nor cuffs are obtrud- 
ped, but are kept back in tone, while the 
yedge of the cap and the sleeves of the! 
)60wn are deep red and enrich the some- 
j/what sombre color scheme greatly. There 
)is movement in the figure, as if the writer 
i had risen to expound something in the book 
(Just written and was stooping slightly for- 
;ward. A vivid intelligence shines from his 
j face, which is handsome from its inner ra- 
‘diance rather than its proportions or the 
texture of skin and hair. The moustache 
has been shaved above and below, so as.to 
describe & narrow arch on the upper hip; 
it gives a peculiarly individual appearance} 
to the face, not in ‘all respects attractive. | 
|The countenance is painted in harmony} 
with the color scheme. The method of} 
| painting is found among living artists in 
; Some of the later portraits by J. M. Whis- 
tler, whose etchings often’ recall Rem- 
brandt’s etchings, and whose paintings are) 
also now and then suggestive of Rem-)| 
,brandt without any signs of conscious ini-| 
tation. 

Another old master that bears the stamp) 

of Senuineness is the'“ Immaculate Concep-} 

tion,” by Murillo, a large canvas with a) 

very large, small-headed figure of the Vir- 

gin in the air, her feet on a Sphere, twelve! 

Stars in clouds above her head, and angels) 

round about her. It is not one of the Yaesti 

attractive examples of Murillo’s Madon-) 
AGP 6 eyes being too large and senti-| 
; mental, the head too small, the expression) 
lachrymose rather than inspired. But it af-! 
fords an example of his work very valuable 
to a collection of old masters which does!) 
not contain his better canvases. The copi-| 
| ous tresses of the Virgin and the angels are’! 
painted with great power. How much hand| 
the master had in it and how much his ap- 
prentices must be left to the experts. who) 
revel in such distinctions. It comes from 
the collection of Sir Lewis Jarvis. 

An instance where a great painter is 
misrepresented by the work of a disciple or 
copyist is the full-length portrait of Philip 
Il. of Spain attributed to Titian, which is) 
said to have been at Blenheim in the fa- 
mous Mariborough collection. Neither ara w- 
ing nor flesh painting suggest the master, 
The figure does not stand on the floor; one 
i Jeg looks shorter than the Other, and that! 

leg On which the weight of the body rests 

does not appear to be doing any work,! 

Probably it is an old copy from the paint-} 
ing at Naples, which gradually won its way) 

into the lists of pictures ascribed to Titian) 

as. a replica by his own hand. But the 
MfPaknesses here seén cannot be explained 
restorations; they are too radical. | 
fine piece of work is 
Charies 1. Hastlake’s collection. It is| 
ted<4o29 and states the age of the gray-| 

aired nian it represents at seventy-four. 

& wooded, hilly landscape by Jacob van) 

suysdael has figures» of falconer, erey- 
nounds, and horsersan; its fine luminous | 
ky is its chief attraction. .A similar pict-| 
pure by Aelbert Cuijp, ‘Cavaliers on a} 
Road in Holland,” shows a more open cdun-| 
try and 2 rich, warm effect of sunlight, | 
The luminous quality of the Ruysdae} ap-| 
vears In a river scene by Jan van Goyen, a} 


the Holbein from| 


That a collection numbering a half-dozen| | 
old masters Of the Netherlands and a half-! | 


‘ish-brown pottery émpty. 
‘Jast century is a river scene by Daubigny. 
_to have been a gift to Daubigny, is not es- 


| Fine, 


-HANFORD COLLECTION SALE. | 


len 
ie? res- 
ne of 
com- 


One of the finest pieces belonging to the) 


much ‘richer than usual, A tall Corot, said 
ecially fine,.the sky lacking the exquisite 
Pederhane: Corot often gave his) horizons. 
put a scattered composition is the 
Troyon, ‘‘ Landscape with Cattle Near Hon- 
fleur.’’ The nude by Corot has miore inter- 
est than beauty, the twist of the woman's) 
torso making the picture uncomfortable to) 
look at. The little ‘“‘ Hussar,*’ by Meisso- 
nier, is a first-rate example; it came from 
the Secretan collection, Perhaps the most) 
delightful example of Louis Eugéne Isabey 
ever Shown in America is the “ Love Mes- 
sage,’ a mediaeval housefront with. figure | 
in fifteenth century dress, ‘‘ Crossing the} 
Ferry,” by J. J. Veyrassat, is a little jewel, 
far better than the big cattle pieces. Other 
paintings are good, indifferent, and plainly’ 
bad, as must always happem when the ex-'| 
ecutors sell out a collector's entire gallery. | 


Low Prices for a Rembrandt and a 
Murillo Occasion Surprise—Total 
Amount Realized, $124,135. 

The amount realized by the sale of Mrs. | 
P. C. Hanford’s collection ,of paintings by 
the American Art Association at Mendel- 
ssohn Hall on Thursday evening was $124,- 
135. The appearance of a Rembrandt, ‘‘ The 
Accountant,” and the price which it/ 
fetched, $238,000, gave rise to some sur- 

prise. A dealer bought the picture. 

A Rembrandt had not appeared in a pub- 
lic sale before since the: Schaus collection 
sale several years ago. Since that time 
three of the portraits of this master are 


known to jhave changed hands at private 
Sales, and they are known also to have 
brought more than $50,000: each, 

Several other paintings brought good 
prices, among them a Troyon, which went 
to ex-Mayor Hugh J. Grant for $10,000; 
Rousseau’s “Marsh in Spring,” which a 
dealer purchased; Richard A. Canfield se- 


i 


cured De  Neuvilie’s “ Trumpeter’ for 
$4,600. The Murillo, which is said to have j 
ae the last owner $20,000, went for 
8,700, 


Paintings which brought more than $1,000 | 
were these: 


“ Planning the Campaign,” Carlemont; E. 
Fischhof 


ee ee ee a 


ee ee ee 


Ter Gein OO s o's Reding com ire ea oe Mouie oe , 700 
“Figure of a Nude’ Woman,’’ Corot; 
Puranas Biel sce Neasna Wiig at mae eres ,000 
“Marsh in Spring,’’ Rousseau; EH. Bran 

GLUE esata a lyla ate Wie Re a Seeny EM a tsieet ce mns ans ae 1,000 
“* Watering the Sheep,’”’ Jacque; H. Thomp- arte 
BUS ae ai DE GUC Ly Meat eh alana SII HER To phan terse oe TRS 3,500 


** Cattle Returning Home,’’ 
BH, -Brandus 243k ee IT tee OPN EMO RCN 
“Landscape with Cattle,’? Troyon; Hugh 
SN Grant << oe lb, ; 
‘The Trumpeter,’’ 

A, Canfield 
‘“ Grandfather 
PYSCHOL see soos RET ACR ie Rare rs 


Van Marcke; Hens 


o,¢ 


Pe ee eee ee ee 


de. Neuville; Richard 


Chaltank ie eee go WR Ee daa weal hal ees eee SUMING 4,250 
** Drinking Scene,’’ Teniers the younger; 

BF | WVASSBIMME TY Wa,G ar chk orcs heats Be ee ces se eers ,300 
™ Portrait of an Heclesiastic,*? Holbein. the 
YOUBET Say ROMO  cisliecailtn glk Vici alate wie aia : 000 

* Banks of the Meuse,’ Van Goyen; G. S. 
Palmer vie ihto ws Gesu erates eater As 2,700 | 
‘The Accountant,’’ embrandt; HE. Fisch- 

Na apna OPE Hl ge ua at PA oa a ag Uns eM MR nc SR 23,000 | 
** Cavaliers in Holland,’’ Cuyp; M.. Chal- 
LOVE ipa ilg Ws mg tae Waele oh tio a siad ,800 | 
*“ Wooded Landseape,’? Raysdodl; BR. Bran- 
LUIS se ss ni chi whe asia rete g Ha wren Rieoiete ar aim BIL a cemhonaRtCH UTE aN 3,400 
i“ Portrait. of Phillfp 11.7%. Titian; |B, | 
PESCHHOE) Lara a sheds tombe aah ci eb oe eee »400 | 

“ Immaculate Conception,’’ Murillo; Wil- 
ROTA) gay wile ob, aie wom lecalara re mia al erate line: earn amie bla dle 700 


io SREY 


Bon isi ; 


SoS: 


$20,000, Went for Only 
Total Received for — 
ings Sold Is $124. 
Grant Pays $10,600 
The sixty-one paintings and 
|in the collection of Mrs. P. © 
‘Chicago, which were sold by 
| Kirby. of the American Art . 
jat Mendelssohn Hall, last ev 
$124,135. The attendance at the hall, 
was filled, had been foreshadowed by 
demand for the unusually fine e 
luxe catalogue, the best that the 4 
‘Art Association has issued of | 
a demand which went beyond the 
_ There were a number of yery 
|New Yorkers in the hall, few of whc 
‘names, except those of dealers, ale ap 
in the list of buyers, although it is 
that some of the promi 
‘the real purchasers of some e 
| The sale was not witheut sur] 
indeed, not without humor. — 
‘inated by the Rembrandt, * 
ant,” acknowledged to 
,fine quality, but notwithste di 
‘of the appearance of Rem 
New York auction Mirai a 
old masters were not out after it. 
A Rembrandt has not appeared in a pu 
sale here since the sale of the Schaus_ 
lection some years ago, and at least 
portraits by this master which hav 
disposed of at private sale in New 
Within a few years—two of them 
_recently—have — red hands at a 
_ $50,000 each; but “The Accov J 
bid up only to $23,000, at which fig e 
' went to a dealer, rae ee 
_ When the Titian portrait, of Philip” 
of Spain was put up it was difficult to co 
clude that the bidders believed deep 
it, although it came from Colnaghi, 
offers were small and slow. When at 
call of $1,350. a voice raised the bid to 
the temptation to alliteration was too m 
for Mr. Kirby, who exclaimed,“Ten dollars 
Hh a ee eb Fa ack out A 
the excuse they longed for to laug aes 
meeting. A dealer made the bid an 0 
hundred and the portrait went at $ 
There are three of these portraits, one 
at Madrid and one at Naples. testing 
The Murillo conception went at $§ 
to a buyer whose name as announced 
not disclose his identity. Hugh J 
bought the excellent Troyon for 
and a dealer took Ro u’s “Marsh 
Spring” at $11,000 after a stror Ong 
tussle with another determined bidde 
Dick Canfield paid $4,600 for De Neu 
("Prumpeter.” 03 40 AEE A ae 
Van Goyen’s “On the Banks of the’Me 
"was Ghiieed by two bee rence 
_upon being put up a second time was 
up to $2,700. The Murillo, which sold 
$8,700 cost the last owner $20,000.  . 
Following is the list of the Baler: 
“ 4 Regs ‘ - pe Geo rge \ 
2. “Pruite an loweus” ariseapees 
+ Wee verinignis ss: ao bane Finis cotys Pee acters 
3. “Sheep and Chickens,” Verboeckho 
John Fleming ...,... SO é 
4. “The Favorite Dog,” Rosa. theur; 


Blumenstiels<...\.c2-sredenisctn vet 
5. copes Sir," Moormans; G. D, Lover 


Ga a ini'p Winlelds ey vie e-wets Binelsy eee ety tee, oO 
AHN en Exchange,” Muntier; i. Rein- ate ‘ 
Tat rae 7-6 


ha: ee ee ee teh eee eee eneuebe tke te eee 
Sua be Damascus,” Pasini; S, P. 4% 
VOT OE Te wu cige Tewtawtanss 50} da via a yee EY 
? “soldiers iat Breakfast,” Pettenkofen; 
» ASEHMOL 97.120. oked «ole ok wares i ree ai 
“Fully Absorbed,” Mannicardi; We H.. 
Sheehy a paleo ene eee i ieee 3 
: ares Bas Campaign,” Charlemont; 
ue io? Ge Pee i eae Wir eens ery £ 
- “The Smoker,” Lessi; M. Chalfant...... | 1,10 
“Absalom and Tamar,” Cervera; _R. ¥. 
CRLVERA iad sb wale ae eS a AS 
. “Gains of a Day,” Faivre; W. H. Sheehy — 
“Crossing the Ferry,” Veyrassat; G. S. 
Palmer .. ‘ 
“In the Wine 


fees je eae ee ere ee tet ebwease 


Cellar,” Gabrini; 0. Dress- a 
270 


a 


on 


I 


Seeking Shelter,” Schreyer; 
Hugh Bb ie. 63% ii dy Ga een iy sivatees 5 
- “Sunset. at Thebes,” Pasini; Warren 
SHEEDUIHS ws i bb ee Oe 
“The Love Message,” Isabey; u 
Je, Grant... «-.. Wee Cle Pere eee = Ae 


. 4 agen? ee 


dl for i hares Golicctian: 
_ Pictures—Horatio Walker's Re- 
_ cent Work at the Montross Gal- 

?rench-Canadian Peasants 
es More, with No Lack of 
| Saleh in Their Interpreta- 


P. G. Hanford’s collection, sold last night 
‘at Mendelssohn Hall by Thomas E. 
Kirby, of the American Art Association, 
bidders paid a total of $124,135, an aver- 
age of just $2,035. Prices on the whole 
were excellent, the large Rembrandt, of 
| moderately good quality, fetching $23,- 
000. There were several disappoint- 
ments, however, for the owner of the 


| Titian of for the large portrait by 


Philip II. brought only $1,400, 
ite (th y said to have cost 


i 
: 
‘ 
f 
tion. 
For the sixty-one paintings of Mrs. 
; 


while the big Murillo, 
| Mes. Hanford $20,000, brought $8,700. 
| Here are the pictures that brought 
$1,000 or more, with catalogue number, | 
‘title, name of artist and name of buyer, 


in this order: i e 
“10. PI g the Campaign, | 


Charlemont; B, Fischhof, .. .$1,225 
ia “The Smoker, + Tessi; M. Chal- ah 
*** “Goching ”” Shelter,” 
bia Wearever: Hugh Hill ....... 1,900 
18. “The Love 6,’ Isabey; 
| Hugh J, Grant oo. ees 2625 | 
“The Pond—Sunset,’”” Dupre; M. 0 | 


iva ibaleant 2 ohhh epetees, +. 5 


' genheim 
e “*Cattle® Returniies Homie? 
Marcke; E, ‘Brandus AeA aigh e870 | 
“Landscape and Figure,” Corot; 
M. ‘Chailfant ~ oo ee eee eee cee 3; 
. “Landscape with Cattle,” Troy- 
on; Hugh J. Grant weree ess -10,000 | 
“Landscape with Washerwo- 
men,’? Munkacsy; I. Guggen- 
Helm «es hirere Liha Medal ates s ecento 
. “Oriental Scene,” ~ Ziem; A. 
Tooth & Sons, Gielaceacsious eye 1,775 
. “The Trumpeter,” De Neuville; 
- Richard A. Canfield ,....... 4,600 
“Grandfather -Sleeps,” Mun- 
kacsy; E, Fisehhof ........-2,550 


1,100 


‘40. “Columbus at Court,” von Bro- 
wzik; Warren Sherburne ..... 1,600 | 
41. “The Undecided Question,” 
Volkhard; M, Chalfant ..... 1,250. 
58. “Drinking Scene,’’ Teniers the 
Younger: J, Wasserman .... 1,300 
‘54. “Portrait of an Evcclesiastic,” 
‘ Holbein the Younger; “Hen- 
i TY3 eoreeceree se © ee oe 4,000 
55. “Fleet on Anchor Ground, ” Van 
k de Velde; J. Wasserman, 1,625 
56. “Banks of the Meuse,” Van 
_ Goyen; G, §. Palmer ...... 2,700 
57. “The Accountant,” Rembrandt; 
gr ed, SENSO TOT 6 5 ip iaterare ce n¢ gs 000 
58. “Cavaliers in Holland,” Cuyp; 
MM. Chalfant yo. ou iiee ves. 4,600 
59. “Wooded Landscape,” Ruys- 
dael; BH, Brandus ~ 2.0... 5. 373,400 
60. “Portrait of Philip II.,” Titian; 
H.. Misechhot ..)0 2... ~+-+-- 1,400 
61. “Immaculate Conception, ” Mur- 


illo; Wilson eeree2 e824 @aieneaad 8,700 


THE ART WORLD. 


v é : \ 

Despite unfavorable weather a large 
iaudience gathered last night at Mendels- 
‘sohn Hall in West Fortieth street to at- 
itend the sale of the pictures belonging to 
‘Mrs, P, C. Hanford of Chicago which. 
have. been on exhibition recently at the 
‘American Art Galleries. 
‘collectors were present, but with, an ex- 
ception or two, their names do not appear 
as buyers, the dealers executing most of 
the orders. The Rembrandt, once in the 
‘eollection of Sir Joshua Reynolds, brought 
the highest price—$23,000. It was called 
“The Accountant.” The Titian, “Philip 
II.” went for $1,400, and the Murillo, “Im- 
‘maculate Conception,’ brought $8,700. 
Hugh J. Grant paid $10,000 for the fine 
Troyon, ‘“Tandscape With Cattle,” and 
‘Edward Brandus bought the Rousseau, 
| “Marsh in Spring,” for $11,000. A list of 
prices and buyers follows; total sum real- 
ized being $124,135: 


1. “The Rehearsal,’’ Gloza; George i 
' ODE 2h) vas i selec peOO 
|} 2 “Fruits and ‘Flowers,’” Wisenger; G. 
LISMTLOV CLIME Wuiemhinledhs <4) 0s. + Gace soe’ 100 
3. ‘Sheep and Chickens,’’? Verboeckhov- 
en; John Fleming.. 260 
4, “The Favorite Dog,’”” Rosa Bonheur; sf 
A. Blumenstiel,,. 475 
5, “Speak, ite 4 Moormans; G. fi py “Lov- 
‘ering’. oe dinite 80 
6. XK Fair “Exchange,” “Munier! H. he 
FRGIMRADAL J. petites chpnr es -caseene 225 
| 7. Streets. in eis 3a Pasini; 5S. | 
PHBE Y, | ST pa aitas bhp nied tio. s slgin a wags £50 
| g. “Soldiers at pronase, ad arias 
} E, Fischhof.. . 3 560 
| 9, Fully ‘Absorbed, » “‘Mannicardi: We. y 
Hi. BHCERY.... ccceaee cen cee cer evere 175 
) 10. ‘Planning ie Campaign,’’ Charie- %. 
: mont; BE, Fischhof........+.++:+04+ eae 15225 
‘ii, “The Smoker,’ Lessi; M. Chalfant.. 1,100 
/ 12. ‘Absalom and be sae id Cory ees R. 
; Cervera ... me 110 
| 18, ag cree: of a Day, oe Paivre; WwW. "ty un 
{ SHGWT Midiles . no piddle’s Medic cerhisten aes 
} 14, “Grossing the Ferry,’’ Veyrassat; G. ey 
. Palmer ..... PS See eg Phare 575 


Many prominent | 


ae tal... a pt She ~e 


[18 "th the “Wing "Oeliar”~ Gaprint; 


er or 2'S:v oe shea 9 eee e teres ee 875 
16, “ionaes “ache Xs bie Feahads - 
, Hugh Sills... psdeen 1,900 
17, ‘“‘Sunset at Thebes,’ Pasini; ‘Warren 
Jatey aldo cy: AR CEE eee pat eee, 270 
18. ‘‘The Love Message,” Isabey; Hugh | 
Grant j.'s" 2,825" | 
19, “Borders of the Black Forest,” 
| Wenglein; S, W. Bowne.. 350 
} 20, “Trumpeter of Seckingen,”” Probst; 
[ W. J. Waller... 175 
21. “Contemplation,” ‘Palmaroli; “John 
: Wleming .... 0.3 +. 160 
22. “Landscape, ut Daubieny: ““enry”,. 975 
| 23. “‘The | Pond—Sunset,’’ Dupre; M. 
} Chalrantewers, aemewaccwer . > disw 1,500 | 
24. i vie Hussar,”’ Meissonier; M. “Chal- . 
i , 700 
| 26, ton ee Water’ 8 “age, a Daubigny: 
K OE eT Simi 4 hind wees 2,700 
26. ‘‘Figure of a Nude A ial Corot; 
Durand-Ruel . 1,000 
we Bee ofa Cow,”” Troyon: E ‘Bran- eo 
/ 28, ‘Marsh in Spring,” ae BE. 
} Brandus ... » 11,000 
| 29, "Watering the “Sheep,” Jacque; E 
| Thompking : Mut averuerays teem aeons 3,500 
| $0. ‘In the Harem,” Diaz; I, Guegen- 
f FOUN fos sok aera sree Atte Cie ROR Uae 4,400 
| 81. ‘Cattle Returning Home,” Van 
Marcke;: Hi Brandusiip. 3 5. neo 8,700 
| 82. “landscape and Figure,’’ Corot; M. 
Chalfant. occ aun» pete ve tan ety pee 8,000 
33. ‘‘Landscape With Cattle,’ Troyon; 
Hugh. J. (Grant Pons . cae aadea eh ie 10,000 
84, “Environs of ‘Cleves,’ Koekkoek; 
Heinemant iis oaiiyein ns ahr ol enigma 500 
35. ‘‘Landscape With Washerwomen,’’ 
Munkacsy; I, Guggenheim..... Fah goks 200 
36. ‘Oriental Scene,’’ Ziem; A. Tooth & 
SODBK (2 )6'. dered cy sed ae hi ee ose eee 1,775 
| 37. *'The Trumpeter,” de Neuville; Rich- 
ard A, Canfieldss csada aipics. see 4,600 
, 88 ‘Sunrise in Holland,’’ Jettel; BH, 
| Fisehhort ) 4 dus aa a aenes seine eieiey pale eee 450 
| 89. “Grandfather Sleeps,’* Munkacsy; E. 
| Wischhot, 5 araee eo, ae lier Coline 2,550 
40. “Columbus at’ Court, rs von Brozik; 
Warren Sherburne..: /..i0750 aeuaes 1,600 
| 41. “The Undecided Question,’ ‘Volk: 
hard: "M, Chalfanta. “sia denyederns + 1,250 
43. “Autumn Flowers,’’ Vibert 0} 
Pischhot: \vgiassmes seaplane ss ta vole  150'4 
| 48, ““Flowers,’”’ Letour; M. HE. Reardon. 90 
44. “Sheep,” De Luc; D. G. Gunther... 60 | 
45... ““Cattle,”? De Luc; D, G, Gunther. 7, 60 
46. “‘Coast of Normandy,’’ Thompson; 
M). BE) ReardGn wes ieee ease 90 
| 47, ‘"Sunset in Venice,” Thompson; 0. 
Dresslor..5 ts eas hae eos Gnbnamteaial 130 
48. ‘‘Weary Shepherdess,’’ Millet: BH, 
Fischhot'; ieee aauiaies sinensis 600 
| 49..‘‘Man With Jug,” Van Ostade; Rich- 
ard, A; ‘Cantlelde tiie sssiem seeks oe 675 
| 50. ‘fPhe Hermit,’”’ Van Slingelandt; G. 
1G; Benjamipeyvcee crates aera Mens 325 
51. ‘The Merry Couple,” Steen; A. A. 
| Higaly.,.’:.. Vases eipares eats so ecteat ieee s 625 
| 52. “Landscape With Figures,’ Ber-; 
chem; ©. GiCormeli Ir: fs... tac iss ATS! 
| 53. “Drinking Scene,” Teniers the | 
Younger; J. Wasserman........+... 1,300 | 
| 54. ‘Portrait of an.Eeclesiastic,’’ Hol- 
bein the Younger; ‘‘Henry’”’.....1.. ‘4,000 
55, ‘Fleet on Anchor Ground,’’ Van de 
Velde; Ji> Wasserman: 2... 329 2 1,625 
56. “Banks of the /Meuse,’’ Yan Goyen; 
GB, PaubrnereesOog acute sa oneal 2,700 
57. ‘The Accountant,’’ Rembrandt; E. 
Mischhoftganeweeys den cca peek ee 23,000 
58. ‘“‘Cavaliers. in Holland,’* Cuyp; M. 
Chalfan tise wasisieteul oben es saa eee 4,600 
59. ““Wooded Landscape,”’ ‘Ruysdael; EH. 
i (Bran dup tissaonperaes cicaaas © + sinrcianree 3.400 | 
| 60. ‘Portrait of Philip II.,’’ Titian; E. ‘ 
Fischhofyacers.setn be deeses «taees ee 1,400 
| 61. ‘Immaculate Conception,” Murillo; 
WEISON rece hein le oie cape) e winnie ee 8,700 


HEY made $23,000 the price of a Rem- 
ag brandt at the sale by auction on 
Thursday evening of the Hanford 
ga‘iery in Mendelssohn Hall—the art loyers 
fo whom works of old masters are worthy 
ef fanciful sums of money only if they be 
hought in HKurope. 

They paid $23,000 here for a Rembrandt. 
Bnt what a beautiful Rembrandt it is! lé 
is the figure of a man of middle age, the 
age of the cavaliers of trade in the tire 
when Holland had in trade the ardor and 
the glory of ancient Greece in battle. 

What an assurance is in his eyes and 


—————————————— 


The Rembrandt That 


By Henri Pene du Bois. 


that figure painted by Rembrandt makes a 
similar impression. 

“rhe. Accountant’? of Rembrandt is the 
Thelawnay of Holland. He is set against 


a daxk olive background at a desk, and. 


smiles What a. fascinating individuality 
igein that smile—crafty .aid) Mmduigent, 
affable and self-reliant! ~His\ body is in- 
clined. slightly sferward. 

One of his hands vests on a ledger with 
the peculiar strength of Napoleon’s on the 
map of Hurope, the other holds a pen. 
His face-has the glow of health and the 
matks that ceaseless counting of columns 


Head of 'Rembrandt’s “The Accountant.” 


Jot an audacity of energy in his atti- 
tude! He knows all of his work and all of 
himself. Do you remember Trelawnay, 
3yron’s friend, who lit the flame of Shel- 


ley’s funeral pyre on the shore of ithe 
Spezzia? 
Trelawnay’s figure, tawny on- the red 


background of that holocaust, has the ex- 
treme traits of. the HDnglish race, and, yio- 
lent, it is indelibly impressed on. one’s 
tiind as charactcristic and intense, Well, 


of figures 
forehead, at the corners of the lips. 


The pupils are deep set, the nose is 
long although not aquiline, the mouth is 
broad and imperious. He has brown hair 
under his cap bordered with vermilion antl 
decked with a jewel. Pleats of a white 
shiit appear above ‘his olive «waistcoat 
laced in front. Red revers of a gown and 
links of a long gold chain set under his 
collar and over his shoulder adorn him, 


Broug 


The pahiting is extraordinary even in a 
Rembrandt, The touches of the brush were 
sure and made once forever. The light 
from the left illuminates the cap, face, 
shoulder, chest, cuff and ledger. The har- 
mony of the composition is learned and 
captivating. : 

The picture, engraved by Humphrey, is’ 
described in Smith’s ‘‘Catalogue Raisonne.” | 
Its date there is given as 1658. ‘This was) 
in the period of Rembrandt’s noblest por- 
traits. (le had been, for two years, a 
bankrupt. His ‘‘Night Watch,” an artistic | 
{dol of to-day, was detested then, 

It had made a solitude arourd him. He 
painted now without hope of pleasing the. 
publie, without an effort to compromise his 
{deals of aitistic excellence. Ihe burgo- 
masters, indignant at the indifference to 
mere likeness and to questions of social 
rank in his “Night Watch,” gave him no 
orders for portraits. 

He was financially ruined. He had no. 
sitters to please. He was free. He could 
paint friends who appreciated him. “The | 
Accountant” must have been one of his 
faithful friends. He must have been a real 
art lover. He was a man of elevated char- 
acter, surely. | 

It is pitiful that his name should not) 
have been preserved. It is not known now, 
and one may not write about him one of, 
the biographies, clear as effigies on med-) 
als, that illuminate literature. But a 
biography may melt into a history; tme por) 
trait of a man may melt into the syinbol 
of an epoch. — tet 

This portrait is the symbol of Holland 
at its height. Michel described it in his 
“Rembrandt.” Dr. Bode described it im 
“Phe Complete Works of Rembrandt,’ Sir 
Joshua Reynolds owned the painting in 
1795. From him it passed into the col- 
lection. of Thomas Hardman, of Manchester, 

England. i 


| 


He sold it in 1838. Doubtless the world 
has works of Rembrandt better pre- 
served than this one, but certainly it has 
none as intensely expressive of its paint-| 
er’s art at his best. 
| ‘The competition for it at the sale in Men. 
| delssohn Hall was excited. In it dealers, 
| gollectors, experts were alert. Thé first 
\ pid was $5,000; the second $6,000. At 
the knock of the auctioneer’s hammer the, 
auditors applauded. Their enthusiasm was 
evidently sincere. ' 

The buyer, Eugene Fischhof, is the son- 
in-law and ageut of Sedelmeyer, of Paris, 
who sold to J. Pierpont Morgan recently) 
a Raphael and a Titian. q 

Mr. Fischhof said: “I have in this Rem- 
brandt a bargain,’’ And art lovers, think- 
ing of the “St. Paul im Prison,” a replica 
py Rembrandt, for which John W. Gates 


is said to have paid $60,000, agreed with 


/Mr. Fischhof. ‘The Accountant,” at $23,- 


| uo0, was relatively a bargain. — 


as 


makes at the eyes, on the} 


} 


~ SALE EXD MENDELSSOHN HALL 


-FORTIETH STREET, ts be OF BROADWAY 


THURSDAY EVENING, JANUARY 30TH 


BEGINNING PROMPTLY AT 8. 30 o’CLOCK 


: THE 
he Cc. “HANFORD 
COLLECTION 


gh ON VIEW DAY AND EVENING 
AT THE AMERICAN ART GALLERIES 


From FRIDAY, JANUARY 24TH, UNTIL THE MorNING OF | } | 5 easel be 


THE Day OF SALE, INCLUSIVE of et 

, ~ we ; nf 4 

(Qo ¢ 
i 
4 r 
4 
e 
4 » 
: 


CATALOGUE 


OF 


VALUABLE PAINTINGS 


BY THE FIRST MASTERS 


ANCIENT AND MODERN SCHOOLS 


Mrs. P. C. HANFORD 
CHICAGO 


TO BE SOLD AT ABSOLUTE PUBLIC SALE 


ON THURSDAY EVENING, JANUARY 30TH 


BEGINNING PROMPTLY AT 8. 30 O'CLOCK 


AT MENDELSSOHN HALL 


FortigtH STREET, EAST OF BroaDWay 


THE PAINTINGS WILL BE 


~ ON VIEW DAY AND EVENING 


AT [THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH 
FROM JANUARY 24TH UNTIL THE. MORNING OF SALE, INCLUSIVE 
THOMAS E. KIRBY, of THE AMERICAN ART ASSOCIATION, WILL ConDUCT THE SALE 
THE AMERICAN ART ASSOCIATION, Manacers : 


NEW YORK 
1902 


Press of J. J. Little & Co. 
Astor Place, New York 


‘ ‘ 
= 
- 
* 
= 
f 7 


LIST OF ARTISTS REPRESENTED AND: 


THEIR WORKS 


ARTIST SUBJECT 


BARBINI, G. 


In the Wine Cellar 


BERCHEM, N. 


Landscape with Figures and Animals 


BONHEUR, R. 


The Favorite Dog 


BROZIK, V. VON 


Christopher Columbus at the Spanish Court 


CERVERA, R. 


Absalom and Tamar 


CHARLEMONT, E. 


Planning the Campaign 


Cog, 7. B.C. 
Figure of a Nude Woman 


Landscape and Equestrian Figure 


CATALOGUE 
NUMBER 


15 


52 


40 


12 


IO 


26 


32 


CATALOGUE 
ARTIST SUBJECT 


NUMBER 
UY tne 
Cavaliers on a Road in Holland 58 
DAUBIGNY, C. F. 
Landscape 22 
On the Water’s Edge 25 
DE LUC 
Sheep 44 
Cattle 45 
DE NEUVILLE, A. M. 
The Trumpeter | 
DIAZ, ON. V. 
In the Harem 30 
DUPRE, JULES 
The Pond: Sunset 23 
FAIVRE, TONY 
The Gains of a Day 13 
GIOZA, B. D. 
The Rehearsal I 


GOVEN, J. VAN 


On the Banks of the Meuse 56 


CATALOGUE ' 


ge 


= ce ae a _ > ins! es a . ¥ i ; ‘oa 


Portrait of an Ecclesiastic eee ay 


Spt Ae Love Message ; 18 ; 
¢ i AVS 
eZ eid ‘Watering the Sheep wi gh 29 
Sunrise in Holland : 38 
Environs of Cleves 34 
eo, 3 
; ee - ro 3 
_ LESSI, TITO 
The Smoker ; II 
Flowers 43 


_-- MANNICARDI, C. 


ee 


i =i Fully Absorbed 9 


_ MARCKE, E. VAN 7 


. - 


Cattle Returning Home 31 


~ ae artist At ateke T 
MBISSONIER, iicl. (ha. 3) eam 
AK na 


The ‘Hus 


sal 


¢ 
< 


nee 


‘ MILLET, J. F. 22 


; The Weary Shepherdess 


MOORMANS, F. 


“ Speak, “Sirs: 


MUNIER, f. 


A Fair Exchange 


MUNKACSY, M. 
Landscape with Washerwomen, 


Grandfather Sleeps" 


MURILLO, B. E. 


: The Immaculate Conception 


OSTADE, A. VON 


Man with Jug M 


PASINI, A. 
Street in Damascus 


Sunset at Thebes, with a View of the Memnon 


PALMAROLI, V. 


Contemplation 


4 CATALOGUE 
TAS Meat te 


Soldiers at Breakfast ae fF fo 8 ig 
The Trumpeter of Seckingen 20 
The Accountant 57 
A Marsh in Spring or 28 
EL, JACOB VAN : 
| A Wooded Landscape 59 


Horses Seeking Shelter from a Storm 16 


i _ SLINGELANDT, P. VAN 


a The Hermit So 
_ STEEN, JAN 
ay ee The Merry Couple 51 


_ TENIERS, D. (THE YOUNGER) _ 


Drinking Scene in an Ale-house 53 


_ THOMPSON, G. 
| Coast of Normandy, near Dieppe 46 
‘ Sunset in Venice 47 


% —" : Sake r ee ar y hak Ns R 
Aas yee 4 ee PR seo TAL ¢ 
i 4 . a4 “3 re me" Mg i: 
+ i py! A sy . os re 4 
hae AG teed ok 
: fi eS, is ae = ee 
ARTIST SUSIECT Wr. Sale \> 
, ‘ark lag Oe ae ko . 
TITIAN, V. mane at 
Portrait of Philip II. of Spain 
TROYON, C. 


_ Study of a Cow and Landscape 


Landscape and Cattle 


3 


VAN DE VELDE, W. 


A Fleet on Anchor Ground 


VERBOECKHOVEN, E. J. 
Sheep and Chickens 


VEYRASSAT, J. J. 


Crossing the Ferry 


VIBERT, J. G. 


Autumn Flowers 


VOLKHARD, M. 


The Undecided Question 


WENGLEIN, J. 


Borders of the Black Forest 
WISENGER, F. 
Fruit and Flowers 


ZIEM, F. 


Oriental Scene 


a 


\ 


NICOLAS BERCHEM (OR BERGHEM) 
1620-1683 


Nicolas was born at Haarlem, the son of Peter Klaasze; and why 
he changed his surname is not known. His teachers, besides his father, 
were Jan van Goyen, J. B. Weenix, and Jan Wils, whose daughter he 
married. Berchem painted in several styles; portraits, large and small, 
figures, battle-pieces, and landscapes with cattle and figures, in which 
last class he is chiefly distinguished. There is no record of his having 
visited Italy, and the Italian feeling in his pictures was probably the 
reflex of the Claude Lorrain tradition. At the height of his reputa- 
tion, in 1665, he sold his labor from early morning until four in the 
afternoon for ten florins a day; but his wife is said to have intercepted 
a large portion of his earnings, as he was given to spending his money 
too freely on Italian drawings. At the sale of his effects after his 
death, his pictures brought 12,000 florins, and his sketches 800 florins. 
Berchem was also an etcher, and fifty-six plates are attributed to him, 
chiefly of animals, which are very scarce. He died in Amsterdam. 


ROSA BONHEUR 


1822-1899 


Rosa Bonheur was born at Bordeaux in 1822, the daughter of a 
struggling artist who later migrated to Paris. Here she was placed 
at school, but showed such a strong determination to study drawing 


that her father removed her and set her to copying pictures in the 
Louvre. Gradually she turned her attention to animals. Her habit 
of making studies of sheep and cattle in the abattoirs induced her to 
adopt male attire as the readiest way of avoiding annoyance which a 
woman was liable to meet in such places. Her first important picture 
was “ Ploughing in Nivernois,” exhibited in 1849, followed by the 
“Hay Harvest in Auvergne” in 1855, bought for the Luxembourg, 
and two years later by the “ Horse Fair,’ now in the Metropolitan 
Museum. Her fame was thoroughly assured, and in 1865 The Journal 
published the decree of the empress, naming her Chevalier of the 
Legion of Honor. She was, however, refused admittance to the Insti- 
tute, but, as if in protest, was elected member of the Institute of Ant- 
werp. She lived in her chateau By, in the village of Moret, sur- 
rounded by her animals and beloved by all the people round her, 
working indefatigably up to the age of seventy-two. 


VACSLAV VON BROZIK 


1852-1901 


Brozik’s birthplace was Tzcmoschna, near Pilsen, in Bohemia. 
After graduating from the Academy at Prague, he passed under the 
direction of Piloty, in Munich, and in 1876 settled in Paris, where he 
remained until his death, studying for a time with Munkacsy. His 
long list of distinctions includes many gold medals and medals of honor, 
officership in the Legion of Honor, the order of Leopold of Belgium, 
and the Bavarian order of St. Michael. In 1897 he was raised to the 
rank of a noble. 


¥yapitl ; 
we . 


EDUARD CHARLEMONT 


Born at Znaim, Moravia, in 1848, Charlemont became a pupil of 
the Vienna Academy under Engerth, and later studied with Makart, 
who made it possible for him to visit Italy. After a prolonged stay in 
Venice he travelled in Germany and France, finally settling down in 
Paris. 


JEAN BAPTISTE CAMILLE COROT 


1796-1875 


That an artist should reach the age of fifty before discovering his 
true bent, and then enjoy more than twenty-five years in which to give 
expression to it, of itself makes the life of Corot a unique romance. 
The son of a hairdresser, who by his marriage to a milliner and by his 
own address became court modiste in the imperial days of Napoleon I., 
Cor6t’s early influences were of the comfortable middle class and of 
money making. When his father consented to his becoming a painter, 
provided he could live on the 1,200 francs allowed him, the artistic 
influences were those of David, reaching him immediately through the 
precisely orthodox teaching of Bertin. With the latter he visited 
Italy, and after remaining there two years and a half was able to 
exhibit at the Salon a carefully balanced classical landscape. In 1835 
and 1843 he stayed again in Italy, and only after the third pilgrimage 
were his eyes opened to the charm of French landscape. In 1846 he 
received the cross of the Legion of Honor, and his father, remarking 
that “ Camille seems to have talent, after all,” doubled his allowance. 
His talent revealed itself, however, particularly in the still-fresh recep- 
tiveness of his mind. Hecame under the influence of Rousseau; full of 
new enthusiasm set himself to re-learn his art; spent nearly two years 
in study, and emerged from it the Cordt that posterity honors. They 


tell us that he painted with a song upon his lips; that he was constant 
in his attendance at the concerts of the Conservatoire; that he played 
_the violin; and his own comparison of himself with Rousseau was that 
the latter is an eagle, while he like a lark pulses forth little songs in 
the gray clouds. His latest art is musical, tenderly vibrative, and 
melodious. The recollection of the Italian landscape and of the classic 
influences of his youth find renewed expression in the idyllic character 
of his pictures, so often quietly animated with figures that are crea- 
tions purely of the imagination, lending the help of their presence to 
the motive of the scheme. Great and strong as a Hercules, clad ina 
blue blouse, with a woollen cap over his white hair and a short pipe 
protruding from his ruddy face, Corot, twenty years the senior of the 
great landscape painters, was in their eyes at once the patriarch and a 
younger companion. He kept his innocence, his bonhomie, and song- 
fulness to the end; and the end of his life was without trouble—“ the 
evening of a beautiful day.” 


AELBERT CUYP 
1620-1691 


The son of Jacob Gerritz Cuyp, himself a painter of portraits, 
Aelbert was born at Dort, his father’s native city, in 1620. After 
studying with his father and perhaps travelling in other parts of Hol- 
land, for little is known of his early life, Cuyp settled in Dort, or 
Dordrecht, as it is now called, even then a thriving port on an island 
in the estuary of the Rhine and Maas; and it was along the banks of 
the latter river that many of his most charming pictures were made, 
for always his studies were direct from nature. He was a painter 
of extraordinary versatility, producing, besides his better-known land- 
scapes, marines and shipping, horse fairs, portraits, and still-life; a 

painter of evening effects as well as sunshine, and of winter scenes 


as well as summer. His works received a warm welcome in England 
before his own country had realized their worth. In 1658 he married 
Cornelia, widow of Johan van der Corput, who died in 1689, Cuyp 
himself surviving her but two years. He was buried in his native city. 


CHARLES FRANGOIS DAUBIGNY 


1817-1878 


Daubigny came of a family of painters, and received his first les- 
sons from his father, following them up by a visit to Italy and later 
by some study with Delaroche. He early showed his preference for 
landscape, in which he made his first exhibit at the Salon in 1838. It 
was, however, ten years more before he received a medal of the second 
class; and then, in 1853, the emperor purchased his picture of “ The 
Harvest,” and his reputation was made. He will always be remem- 
bered as particularly the painter of the Seine, Oise, and Marne, which 
he traversed in the summer time in a houseboat, studying the beauty 
of the rivers and also the pleasant evidences of occupation on their 
banks. His devotion to this roving life hastened his end, for he be- 
came a victim to rheumatism, which eventually caused his death. He 
has been likened to Corot in his charm of style and love of atmosphere 
and tender light. 


ALPHONSE MARIE DE NEUVILLE 


1836-1885 


By the death of De Neuville at the comparatively early age of forty- 
nine, France lost the greatest of her military painters: one of the 
greatest of all time. He was born at St. Omer in 1836, of wealthy 


parents, who proposed for him an official career. But from the first 
he wished to join the army, and was entered in the school at Lorient, 
where his skill for drawing was immediately recognized. Desirous, 
however, of meeting the wishes of his family, he went to Paris and 
entered the law school, though spending much of his time at the 
military school and in the Champ de Mars, sketching and familiarizing 
himself with the details of a soldier’s life. During these days Dela- 
croix was his friend, and he studied also under Picot. His early pic- 
tures were not remarkable, but the Franco-Prussian War, in which 
he served in the Artists’ Brigade, gave him at once the inspiration and 
subjects unlimited. “‘ He learned the secret of painting powder and 
smoke and the vehemence of a fusillade.”” When the war was over, his 
“ Bivouac Before Le Bourget” brought him marked success, which 
was sustained by such important works as “ The Last Cartridges,” “ Le 
Bourget,” and “ The Graveyard of Saint-Privat.” He was admitted 
to the Legion of Honor in 1873 and made an Officer in 1881. 


NARCISSE VIRGILE DIAZ DE LA PENA 


1808-1876 


In early life Diaz was at odds with the world. His parents were 
Spanish refugees, who for political reasons had abandoned their coun- 
try and settled in Bordeaux. At ten years old he was left an orphan, 
and at fifteen apprenticed to the porcelain works at Sévres, where 
Troyon and Dupré were fellow-students. But he quarrelled with his 
master, and made his way to Paris, there maintaining himself in slen- 
derest fashion by painting little subjects suggested either by books 
or by his own teeming imagination. Dupré introduced him to the 
colony at Barbizon, and he strove to learn the science of his art from 
Rousseau. But by heredity and habit he was a rebel—a light-hearted 
and harmless one, incapable of severe discipline, and full, moreover, of 


an independence of creative spirit that more rigid training might have 
cramped. He found his utterance especially in color, upon which he 
played with a facility of execution and brilliance of motive that has 
earned for him the sobriquet of “ virtuoso of the palette.” In 1876 
he found himself attacked by an affection of the lungs and went to 
Mentone, where, after a little respite, he died. 


JULES DUPRE 


1812-1889 


Dupré was the romanticist of the Barbizon group, and his own 
life was a romance—a lonely existence pregnant with passionate en- 
deavor, and continually nourished by the necessity of finding some- 
thing more to be attempted. As a boy apprenticed in the porcelain 
works at Sévres, he’spent all his leisure time in wandering in the fields, 
making endless drawings from nature. Ignorant, then, of what the 
Dutch masters of the seventeenth century had achieved, of the work 
of the English Constable, or of the similar strivings of his own country- 
man, Rousseau, he was instinctively feeling his way to nature. In 
1831 he exhibited at the Salon and won the favor of the Duke of 
Orleans. Then followed a visit to England and acquaintanceship with 
Constable, and on his return to France he exhibited ‘‘ The Environs 


’ d 


of Southampton” and “ Pasture Land in Limousin,” which revealed 
him already as an accomplished master. But to the end he was a 
student. ‘“ You think, then, that I know my profession?” he once re- 
plied to a dealer who urged that with his sureness of hand and eye he 
could finish a certain picture in a few days. “ Why, my poor fellow, 
if I had nothing more to find out or to learn, I could not paint any 
longer.” 

In his home at L’Isle Adam, across the river from Nantes, where 


he was born, Dupré lead an enviable life, surrounded by books, receiv- 


ing’a few chosen friends, and rarely missing his walk across country of 
an evening, no matter what the weather might be. His friend the 
Duke of Orleans, returning to F rance from political exile, invited the 
old painter to his house. Taking him into a room he showed him his 
early picture. “Ah, my friend,” he said, “that picture is more for- 
tunate than you and I; it does not grow old.” Notwithstanding his 
fervent character as an artist, his temperament was an equable one, 
being as little disturbed by his success as it had been by his early 
struggles. 


TONY FAIVRE 


Tony Faivre was born at Besancon in 1830. He became a pupil of 
Picot, after which he visited Italy. Upon his return he gained a medal 
at the Salon, and became identified with genre portraits and decorative 
subjects. 


JAN VAN GOYEN- 
1596-1656 


Van Goyen, one of the earliest of the famous Dutch landscapists of 
the seventeenth century, was born at Leyden in 1596. Up to his 
twentieth year he had had at least three instructors, but seems to have 
acquired little from them except the rudiments of his art. Then he 
visited France, and on his return completed his studies under Esaias 
Van de Velde at Haarlem. He married and settled in Leyden, his 
works of this period showing remarkable proficiency and a close resem- 
blance to the style of his master. During the next thirteen years he 
gradually developed the manner by which he is now best known, and 
then removed to The Hague, where he became president of the guild 
and resided until his death in 1656. He was the father-in-law and 
teacher of Jan Steen. 


HANS HOLBEIN (THE YOUNGER) 
1497-1543 


This prodigy of a painter, who developed so early his extraor- 
dinary ability, was born at Augsburg, and received instruction from 
his father, the elder Holbein; being influenced also by their fellow- 
citizen, Hans Burckmair. When he was seventeen years old he mi- 
grated to the free city of Basle, whose university and printing press 
made it the centre of literary activity and a resort of men of learning 
from all parts. The youth’s genius was recognized by Frobenius, the 
painter, Erasmus, and Jacob Meyer, the Burgomaster; and at the age 
of nineteen he made his first essays in portraiture, painting among 
others Jacob Meyer and his wife. He was given the freedom of the 
city and intrusted with important fresco decorations. These have 
perished, but the designs for them are still retained in the Museum at 
Basle, together with 104 drawings, a sketch-book, and fifteen paint- 
ings. Among the celebrated portraits of this period are a “ Portrait 
of Erasmus” and the “ Meyer Madonna” at Darmstadt, of which a 
copy by a later hand exists in the Dresden Gallery. The outbreak at 
Basle of religious and political dissensions, and the added horror of 
the plague, induced Holbein to seek employment in England, whither 
he set out with letters from Erasmus, stopping at Antwerp and making 
the acquaintance of Quentin Massys. In England he was cordially 
received and housed by the Chancellor, Sir Thomas More, whose 
portrait he painted, as well as one of Archbishop Wareham and some 
others. After two years he returned to Basle to complete his decora- 
tions of the Rathhaus; but revisited England in 1532, to find that More 
had been deprived of his high office. The German merchants of the 
Steelyard, however, welcomed him, and commissioned two decora- 
tions on canvas for their hall—the ‘ Triumph of Wealth” and the 
“Triumph of Poverty.” Many portraits belong to this period, notably 
the celebrated one in Dresden of Hubert Morrett. At what date he 
entered the service of Henry VIII. is not known, but the first entry 
of his receipt of a salary occurs in the accounts of the royal expendi- 


ture under the date of March 25, 1538, and the entries follow quarterly 
as long as the accounts are extant. He was employed by the king in 
several of his matrimonial ventures to visit the continent and make 
portraits of prospective wives, and it is probable that he remained in 
the royal service until his death, apparently of the plague, in 1543. 


LOUIS EUGENE ISABEY 
1804-1886 


A son of a miniature painter, Jean Baptiste Isabey, Louis was born 
at Paris in 1804. He commenced his career as a painter of genre and 
marines, receiving in 1824 and 1827 medals, respectively, for those two 
kinds of work. In 1830 he had the good fortune to receive an appoint- 
ment as marine painter with an expedition to Algiers. Henceforth 
his works were received into the most important museums of France, 
and were contended for by private collectors. He made for himself 
a distinct position as a genre painter, depicting subjects of a fancifully 
aristocratic character with remarkable facility of drawing and’a viva- 
cious splendor of color. He worked unceasingly during a professional 
career of more than sixty years, and “left perhaps fewer works un- 
worthy of his genius than any other painter of his period.” 


CHARLES EMILE JACQUE 
1813-1894 


Living to the age of eighty-one and retaining his forcefulness to 
the end, Jacque was the last survivor of the Barbizon brotherhood. 
He was born at Paris in 1813, and in early life was apprenticed to a 
map engraver. After serving for a time as a soldier, he practised wood 
engraving, and then passed to etching, in which he won recognition 


iia i hae rl - 3 


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that time has thoroughly indorsed. Though he began to paint in 
1845, it was not until sixteen years later that a picture of his was 
awarded a medal at the Salon. Jacque’s interest in domestic creatures 
was not confined to painting them. He bred fowls and wrote a book 
about them, and extended his sympathies to pigs. But it is sheep with 
which his fame is most enduringly connected. He has painted them 
with a comprehension that has never been surpassed; and associated 
with his profound knowledge of form, the product of his experience 
in engraving, was a skill in simplification, the particular accomplish- 
ment that marks all great artists. He died rich and honored, and the 
sale of his studio collection was a notable event. 


EUGENE JETTEL 
1845-1901 


Eugéne Jettel was a native of Janowitz, in Moravia, where he was 
born in 1845. After studying with Zimmermann at the Academy of 
Vienna, he travelled in Holland, Italy, and Hungary, making his head- 
quarters since 1873 in Paris. He won many gold medals and was a 
member of the Legion of Honor. 


BAREND CORNELIS KOEKKOEK 
1803-1862 


Born at Middelburg, Zeeland, in 1803, Barend Cornelis was the 
son of the painter Johannes Hermanus Koekkoek. After studying 
with his father, he became a pupil of the Amsterdam Academy under 
Van Oos, and later travelled in Belgium and the Ardennes, and along 
the Rhine and Moselle, also visiting Paris. For a while he settled in 
Beek, in Gelderland, but in 1841 founded an Academy of Design at 


Cleves, where he resided until his death in 1862. He was a member 
of the Rotterdam and St. Petersburg academies, a knight of the orders 
of the Lion and of Leopold, a member of the Legion of Honor, and 
a recipient of gold medals in Amsterdam, Paris, and The Hague. 


EMILE VAN MARCKE 
1827-1891 


Emile Van Marcke was born at Sévres, his mother being a French 
woman, his father favorably known in Germany as a landscape painter. 
He learned to draw at the Liége Academy, where he carried off all the 
prizes. Marrying when very young the daughter of M. Robert, who 
on the death of Regnault became the director of the Sévres porcelain 
works, he secured a position under his father-in-law, and for nine years 
decorated vases with landscape and animals. Troyon, whose mother 
lived at Sevres, visited the city at intervals and became interested in the 
young man, and finally invited him to Fontainebleau, where he worked 
alongside of the master. He was encouraged to take a studio in Paris; 
but for a while his work reflected closely his master’s, and was unfavor- 
ably compared with it. After Troyon’s death in 1865, however, Van 
Marcke’s work grew sensibly more individual. He purchased a farm 
in Normandy, raised herds of fat cattle, and painted them in their rich 
pastures, with a vigorous presentment alike of the beasts and their 
surroundings that won him a distinct position. The sale of his pictures, 
following upon his death in 1891, was one of the most remarkable 
occasions of the kind. 


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JEAN LOUIS ERNEST MEISSONIER 
1815-1891 


Meissonier left Lyons, his native city, for Paris when quite young, 
and for a time was apprenticed to Menier, the chocolate manufacturer. 
At length he started on his career as a painter on the small income of 
fifteen francs a month, and became a pupil of Léon Cogniet. He made 
his first success with rococo pictures, and gradually rose in popularity, 
buying a little house at Poissy, near St. Germain, after having been 
admitted to the Legion of Honor when only thirty years old. In 1859 
he was selected by Napoleon to accompany the army into Italy, that 
by his pictures of victories he might institute a parallel between the 
emperor and his mighty uncle. The only battle painted was that of 
Solferino, in which Napoleon is represented watching the conflict from 
a hill. The next opportunity for martial painting came with the war 
of 1870, but when events took a disastrous turn Meissonier returned 
to Paris and helped in the defence of the city, after which he com- 
menced his cycle of pictures of Napoleon I. He was indefatigable in 
attending to every detail that might add to the accuracy of his paint- 
ings, and spent large sums in purchasing horses, arms, and costumes. 
As his wealth increased he beautified his estate at Poissy, and became 
the owner of a stately house in Paris, in the Boulevard Malesherbes. 
He was a fine horseman and swimmer, and retained his vigor to the 
end, and as late as the year before his death headed the migration of 
younger painters who left the Champs Elysées to establish their own 
exhibition at the Champ de Mars. No painter has more fully shared 
in his own triumphs. His reputation reached its highest during his 
life, and the large sums paid for his pictures passed directly into his 
own pocket. 


JEAN FRANCOIS MILLET 


1814-1875 


Millet, the painter of the laboring peasants, was born at Gruchy, a 
little Norman village near Cherbourg and the sea. As a child he re- 
ceived a good education from an uncle who was an ecclesiastic, and 
in after years could read his Virgil and other Latin authors in the 
original text. As a youth he worked with his father and brothers on 
the farm, spending his leisure in drawing, until at last a family council 
was held and he was permitted to take lessons from two painters in 
Cherbourg. But two months later his father died, and Millet, now 


twenty years old, was forced to return to the farm. After three years’ 


labor a subsidy from the municipality of Cherbourg, augmented by the 
subscriptions of private individuals, enabled him to go to Paris, where 
he entered the studio of Delaroche. Such discipline as he encountered 
there was not for one so full of what he himself desired to do; he found 
the master’s pictures “huge vignettes, theatrical effects without any 
real sentiment.” For a time he tried to support himself by painting 
little genre pictures such as he thought the public seemed to want, but 
they were unsuited alike to his method and taste; so that at length 
he dared to hearken to the “ cry of the soil,” with which he used to say 
he was haunted, and produced “ The Winnower.” The sale of this 
picture encouraged him, and hearing from Jacque of the Barbizon 
colony, he determined to join it. In June of 1849, when Millet was 
thirty-five, the two painters, with their wives and children, set out, 
and by evening reached the spot with which their names will be forever 
associated. Several years of grinding poverty ensued, and it was 1863 
before the artist was in a position to buy a little house in Barbizon. 
But by this time his reputation was no longer in doubt. At the Uni- 
versal Exposition of 1867 he was represented by nine pictures and 
received the Grand Medal, and two years afterwards was on the Hang- 
ing Committee at the Salon; and he lived to see his ‘‘ Woman with the 
Lamp,” for which he had received a hundred and fifty francs, sold for 


thirty-eight thousand five hundred. “ Ah,” he said, “they begin to 
understand that it is a serious picture.” ~ He lies buried near Rousseau, 
in the churchyard at Chailly on the edge of the forest, and the heads 


of the two masters are recorded side by side on the Barbizon stone by 
Chapu. 


FRANCOIS MOORMANS 
1831-1873 


Born in Rotterdam, Moormans became a pupil of the Antwerp 
Academy. His genre pictures won him a distinct reputation. 


MIHALY MUNKACSY 
1846-1900 


Mihaly Lieb, later called Munkacsy, after the little village of Mun- 
kacs in Hungary, where he was born in 1846, was the son of a peasant. 
He began life as a carpenter’s apprentice, until a portrait painter of 
Guyle, seeing that the boy had talent for drawing, undertook to teach 
him. From this master he passed later to the Vienna Academy, 
whence he graduated in time to Munich, Professor Adams becoming 
his friend and instructor. His advance was so rapid that he estab- 
lished a studio at Diisseldorf, where he came under the influence of 
Knaus and Vautier. Emboldened by the success of his ‘ Last Day 
of a Condemned Man,” he migrated to Paris, where, except for visits 
to his native land, he made his home, winning a popularity that was 
world-wide. At the end his intensely vigorous mind succumbed to 
disease, and a brilliant career was closed in madness. He was one of 
the most prominent and best known of those eager Hungarian artists 
whose genius, pent and cramped at home, has overflowed the art 
centres of other countries; belonging to a generation too early to share 
in the harvest of the late renaissance of art in Hungary itself. 


BARTOLOME ESTEBAN MURILLO 


1618-1682 


Both Murillo and Velasquez were born at Seville; the former in 
1618, eighteen and a half years later than his illustrious fellow-towns- 
man. While Velasquez is reckoned in the Castilian school of Spanish 
painting, which, drawing its traditions from Toledo, grew around the 
courts of Philip II. and Philip IV. at Madrid, Murillo was the head of 
the Andalusian school, whose centre was Seville and its chief patron 
the Church. He was taught to paint by a relative, Juan del Castillo. 
In 1641, having acquired a little money by painting heads of saints and 
sacred pictures for South America, he was induced by Pedro de Moya, 
a former fellow-student who had studied in England under Van Dyck, 
to proceed to Madrid, with the intention, as some writers state, of 
going on to England and to Italy. But the death of Van Dyck, his 
own limited resources, and, most of all, the kindly advice of Velasquez, 
decided him to remain at Madrid, where the great master procured 
him every facility for completing his studies. In three years’ time he 
had made such progress that Velasquez advised him to proceed to Italy, 
and offered him letters of recommendation from the king, which honor 
he declined, preferring to return to Seville. Here he painted a series 
of pictures for the Franciscan monastery, representing events in the 
life of St. Francis, and henceforth was acknowledged as the Caposcuola, 
or head of the school of Seville, his principal ‘rivals being Francisco 
de Herrera the younger and Juan de Valdez Leal. Marrying a wealthy 
lady of Pilas, he was enabled to maintain a handsome establishment, 
his home being the resort of people of taste and fashion. In 1660 he 
founded the Academy of Seville, and for the first year was its presi- 
dent. His earlier pictures, painted with considerable force and realism, 
are chiefly illustrative of humble life, a favorite subject being the bare- 
legged, dirty street urchins sleeping or playing in the sunshine. But 
later, scriptural or religious pictures occupied his brush, and of these 
the most important were a series of eight large canvases painted for 


4 
: 
a 


ia,” 


La Caridad, the hospital of St. George. Many of these are now dis- 
persed, some of them having been taken away by Marshal Soult during 
the Peninsular War. 

His last -work was an altar piece of St. Catherine, painted at Cadiz 
for the Church of the Capuchins. But it was never finished, for a fall 
from the scaffolding obliged him to return to Seville, where shortly 
afterwards he died. 


ADRIAAN VAN OSTADE 


1610-1685 


Adriaan Van Ostade was baptized at Haarlem on the toth of De- 
cember, 1610. He became the favorite pupil of Franz Hals, and was in 
time himself the master of Jan Steen. Twice married, his second wife 
being the daughter of Jan Van Goyen, he lived and died in Haarlem, 
and was buried there May 2, 1685. Few collections are without 
examples of his peasant subjects, which are among the best of the 
“Jittle masters.” His earlier pictures are the cooler in tone, the later 
more golden and showing the influence of Rembrandt. His drawings 
and etchings are also held in high esteem. 


DON VICENTE PALMAROLI 


Born in Madrid in 1835, Palmaroli studied under Federico Madrazo 
and at the San Fernando Academy, afterwards continuing his studies 
in Rome. He gained reputation for portraits as well as for his genre 
subjects, in which latter his style is likened to a mixture of those of 
Fortuny and of Meissonier. For many years he was director of the 
‘Spanish Academy at Rome. 


ALBERTO PASINI 
1826-1899 


Chevalier Alberto Pasini was born at Busseto, near Parma. After 
being taught to draw by Ciceri, he continued his studies in color under 
Isabey in Paris, and also enjoyed instruction from Rousseau. Being 
of independent means, he was able to take advantage of a chance to 
visit the East, and resided there, in various countries, for three years. 
“No man of our time succeeds like him in realizing upon canvas the 
life and spirit of the Orient, its splendor of color, brilliancy of burning 
light, and barbaric sumptuousness.” He was an Officer of the Legion 
of Honor, and received a long list of medals, among them the Grand 
Medal of Honor at the Universal Exposition of 1878. 


AUGUST VON PETTENKOFEN 
1821-1889 


August von Pettenkofen was born at Vienna in 1821, ana spent his 
boyhood on his father’s estate in Galicia. _He served for a while as a 
cavalry officer and then turned to painting. A visit to Paris made him 
acquainted with the work of Alfred Stevens, and fixed his subsequent 
style. Returning to Vienna, he became a marked man, substituting 
for the steely, hard, and polished method of genre painting that then 
prevailed a delicately colored, simple, sunny flexibility of manner that 
was concerned less with the subject than with representing it in an 
artistic way. His early experience in the army made him partial to 
subjects introducing soldiers, but he preferred to represent them when | 
off duty and taking their ease, and he extended his studies into the 
life of the little towns and villages of Bohemia and Hungary. His 
most famous picture is ‘“‘ A Market Scene in Hungary,” exhibited at 
Vienna in 1876. He was a Chevalier of the Austrian order of the 
Crown of Oak. 


KARL PROBST 


Karl Probst was born at Vienna in 1854. He wasa pupil of Angeli, 
and in his genre subjects closely imitates Meissonier. 


REMBRANDT VAN RYN 


1606-1669 


Rembrandt Hermanz (son of Herman) van Ryn was born at Leyden 
in 1606, the son of a prosperous miller, Herman Gerritzoon (son of 
Gerritt) van Ryn. He was sent to the Latin school of Leyden with 
the idea that subsequently he should study jurisprudence at the uni- 
versity; but his inclination for art was so marked that his father put 
him in the studio of Jacob van Swanenburch, with whom he remained 
three years. After further study for a short time under Pieter Last- 
man at Amsterdam, he returned to Leyden and devoted himself to 
study from nature, especially to portraiture, both in oils and etching, 
and to the problems of light and shade, to which last he may very 
probably have been attracted by the engravings of Lucas van Leyden. 
In 1630 he returned to Amsterdam, where he remained until his death. 
Although only twenty-two years old, he had already executed many 
of the subjects now so highly prized; and as soon as he settled in Am- 
sterdam patrons recognized his worth and pupils gathered round him 
from all parts of Holland. His fame and fortune grew rapidly; he 
was able to indulge his taste for collecting objects of art, and in 1634 
crowned his happiness by marrying a lady of good Frisian family and 
some property, Saskia van Ulenburg. But the heyday of his happiness 
was all too brief: his beloved Saskia died in 1642, leaving one son, 
Titus. That same year was finished “The Night Watch,” which in- 
volved him in a controversy with the guild that had ordered it, and 
the following years found his financial embarrassments increasing, until 
in 1656 he was publicly declared insolvent. The rest of his life was 


darkened with money troubles, brightened by the devotion of his mis- 
tress, Hendrikie Stoffels, and sustained throughout by undiminished 
enthusiasm for his art. After Saskia’s death, shunning the desolation 
of his home, he found solace in nature, and produced his finest land- 
scapes. After his bankruptcy, when he was being driven into con- 
stantly narrowing circumstances by his creditors, he seems to have 
found consolation among a few tried friends, and this period is dis- 
tinguished by his noplest portraits. 


THEODORE ROUSSEAU 


1812-1867 


Rousseau was born in Paris, his father being a tailor, who lived in 
the Rue Neuve-Saint Eustache, No. 4, au quatritme. As a boy, he is 
said to have been vety fond of mathematics, and when he began to 
learn to paint, it was in the studio of the classicist Lethiére. But from 
the window of his home overlooking the roofs of Paris, he was even 
then beginning to study the facts around him, and in the summer 
rambled in the country round Paris, making little landscapes of nature 
as he really saw it. His first excursion to Fontainebleau occurred in 
1833, and the following year he painted his first masterpiece, the 
“Cétés de Grandville,’ for which he received a medal of the third 
class. But after this his pictures were refused at the Salon for fifteen 
years, and it was only when the Revolution of 1848 had upset the 
Academic Committee as well as the king, that his pictures obtained 
official recognition. In the meantime he had had a hard struggle for 
a livelihood, and even after 1848 people, accustomed to brown land- 
scapes, were repelled by the greenness of ‘this. “‘ Spinach,’”’ was the 
contemptuous cry. ‘“‘ Ah, but it was hard,” he said in his later years, 
‘to open the breach.” Even to the last official recognition was grudg- 
ingly given. At the Exposition of 1867, although he acted as the 


president of the International Jury, his services were not rewarded, as 
is the usual custom, by an officership in the Legion of Honor, and his 
chagrin over the insult is supposed to have hastened his death. The 
sorrows of his life were added to by the affliction of his wife, a wild 
young creature of the forest when he married her. She became in- 
sane, and, resisting the entreaties of his friends to confine her in an 
asylum, he kept her in his home and devoted himself to the care of 
her. The poor thing was singing and dancing when the great painter 
died. He is buried in the churchyard of Chailly, on the edge of the 
forest of Fontainebleau, and Millet marked his grave with an unhewn 
stone, bearing the inscription: “ Théodore Rousseau, Peintre.” 


JACOB VAN RUYSDAEL 
162 5(?)-1682 


Jacob, the nephew of Saloman van Ruysdael, was born at Haarlem 
about 1625. Being intended by his father, Izaak, for the medical pro- 
fession, he received a good education, and was sometimes styled doctor. 
He may have learned to paint from his uncle, and was certainly influ- 
enced by Albaert van Everdingen; for, after picturing the simple 
country around Haarlem, he was attracted to the romantic district 
from which that painter received his name. In 1646 he joined the 
Guild of Saint Luke at Haarlem, but in 1659 moved to Amsterdam, 
which had conferred upon him the rights of citizenship. Later he 
returned to his native city, oppressed with sickness and poverty, for 
his contemporaries seem to have cared little for his art, and it was 
more through pity than appreciation that they procured him admis- 
sion to the almshouse. Here, within the year of his return, he died. 
Little but what hints at discouragement and sadness is known of his 
life, and much of the shadow of it is reflected in his art. The figures 
in his landscapes are said to have been inserted by others, notably 
by Berchem, Adriaan Van de Velde, Wouwerman, and Lingelbach. 


ADOLF SCHREYER 
1828-1899 


Adolf Schreyer was born at Frankfort-on-the-Main, and in time 
entered the Institute School, studying under Stadel, and making a 
special study of the horse, both anatomically and in the riding school. 
Being of independent means, he was able to pursue his studies in 
Stuttgart, Munich, and Dusseldorf, afterwards travelling with Prince 
Thurn and Taxis through Hungary, Wallachia, and southern Russia, 
and later accompanying the Austrian army in its march through the 
Danubian principalities in 1854. Then, after further travelling in 
Syria, Egypt, and Algiers, he settled in Paris, where his ability was 
heartily recognized. Théophile Gautier, who was a particularly strong 
admirer, once defined him as “a Teutonic accident.” In 1870 he 
settled upon his estate at Kronberg, near Frankfort, where he lived 
surrounded by his horses and dogs; and the remaining years of his life 
were divided between this home and Paris. 

His honors included medals and orders of many European countries. 


PIETER VAN SLINGELANDT 
1640-1691 


Slingelandt was a pupil of Gerard Dou, whose manner he very 
closely imitated. He devoted himself chiefly to genre subjects of 
homely life, and was one of the popular painters of the Flemish school. 


JAN STEEN 
1626-1679 


Jan Steen was the son of a brewer of Leyden. He studied with 
Van Goyen and afterwards with Adriaan Van Ostade, and also felt the 


influence of Franz Hals. The Corporation of Painters at Leyden ad- 
mitted him to membership in 1648, but for some time he was absent 
from the city, finally returning in 1658, and settling down to combine 
the business of tavern keeper and painter. He died and was buried at 
Leyden. One of the foremost brushmen of Holland, admired greatly 
by Sir Joshua Reynolds, Jan Steen is richly represented in the public 
and private galleries of Holland. 


DAVID TENIERS (THE YOUNGER) 


1610-1690 


Teniers the younger was baptized at Antwerp, December, 1610. 
He was taught painting by his father, Teniers the elder, whose style 
he adopted, though the influence of Rubens is perceptible in his pic- 
tures, and, still more strongly, that of Adriaan Brouwer. He was 
admitted a master into the Antwerp Guild of Painters in 1622 or 1623. 
His works were in great request. The Archduke Leopold William, 
Governor of the Spanish Netherlands, appointed him his court painter, 
and the country seat that he bought at Perck, a village between Ant- 
werp and Mechlin, became the resort of the Spanish and Flemish 
nobility. He died at Brussels at the age of eighty, and was buried at 
Perck. 


TITIAN (TIZIANO VECELLI) 


1477-1576 


Titian was the son of Gregorio Vecelli, and was born at Pieve di 
Cadore, in which district of the Carnic Alps his family, an honorable 
one of Venetian origin, had long been settled. At the age of ten he 
was sent to Venice to the care of his uncle Antonio, a lawyer, who 


placed him with Giovanni Bellini to study painting. At least this is 
Vasari’s account, for Ludovico Dolce, a friend of Titian’s, says that he 
was first intrusted to Sebastiano Zuccati, and by him sent to Gentile 
Bellini, whose style was distasteful to the youth and drove him to 
study with Giovanni, whom he also left to associate himself with 
Giorgione. Though the last named was younger than Titian, his 
genius had flowered early and was already being felt by all the Vene- 
tian painters, and it is certain that in 1507 he and Titian worked to- 
gether on the frescoes of the exterior of the Fondaco de Tedeschi. In 
I511 Titian was invited to Padua, where he executed the three frescoes 
still to be seen in the Scuola del Santo. Giorgione having died the 
same year, the duty of finishing his work in the Sala del Gran Con- 
siglio in Venice was intrusted to Titian, who performed it with such 
satisfaction to the Senate that the latter conferred upon him the office 
of La Senseria, worth one hundred and twenty crowns per annum, and 
involving the obligation of painting for eight crowns a portrait of each 
doge elected during his time. Meanwhile he had attracted the notice of 
Alphonso I., Duke of Ferrara, for whom he executed the “ Bacchus and 
Ariadne” of the National Gallery, and the “ Bacchanal and Sacrifice 
to the Goddess of Festivity,’ now in the Gallery of Madrid. By the 
death of Giovanni in 1516, Titian was left undisputed master in 
Venice, and between 1514 and 1530 produced such masterpieces as the 
“Tribute Money” (Dresden Gallery), “Sacred and Profane Love” 
(Borghese Palace), “ Assumption of the Virgin” (Academy of Venice), 
and the “St. Peter, Martyr,” for the Church of SS.” Giovanmieagd 
Paolo. The last, the grandest achievement of Titian in dramatic 
painting, having been laid away in the sacristy during the restoration 
of the church, was destroyed by fire in 1867. 

Titian’s style now becomes broader. At the age of about forty-five 
he reaches a period of ripe maturity, adorned especially with a series 
of splendid nudes and portraits which place him foremost among the 
great portrait painters of the world. He enjoyed the friendship and 
patronage of the Emperor Charles V., and after the latter’s abdication 
found as stanch a patron in his son, Philip II., who granted him a 
pension of four hundred crowns. When, in 1554, the artist com- 


plained of the irregularity with which the money was paid, the king 
wrote an order for the payment to the governor of Milan, concluding 
with these words: ‘ You know how I am interested in this order, as it 
affects Titian; comply with it, therefore, in such a manner as to give 
me no occasion to repeat it.” 

Titian was now living, in the lovely villa of Biri Grand, overlooking 
Murano, the Lagoons, and the Friulian Alps, a life of splendid epi- 
cureanism that tinges somewhat his later works, without preventing 
him, however, from rising again and again to efforts of sublimity. 
His friendship with the notorious Aretino, profligate and unprincipled, 
has been counted against him, and yet there is no evidence that Titian 
dropped to his level; rather it would seem that this friendship was the 
redeeming trait in Aretino’s life. When sixty-eight years old Titian 
visited Rome for the first time, and met Michelangelo and painted the 
portrait of the Pope Paul II. The following thirty years were filled 
with noble work: portraits such as those of his daughter Lavinia; 
sacred pictures like the ‘‘ Presentation of the Virgin ”; classic subjects, 
as the “ Dance” of the Naples Gallery—a range of work unparalleled 
in splendor. At last, with a prescience of the end, he concentrated 
all his power on a “ Pieta” which should secure him burial in the 
Church of the Frari. The picture is now in the Academy of Venice, 
but his body rests, as he had desired, in the chapel of the Crucifixion. 
The terrible plague that swept away 190,000 people in Venice attacked 
the great master even in his retreat at Biri, when but a year was want- 
ing to complete a century of life. 


CONSTANT TROYON 
1810-1865 


Troyon was born at Sévres in 1810, and worked with his father in 
the porcelain factory, Diaz and Dupré being his fellow-students. But 
the real story of his art life begins when he and his two friends found 
themselves at Barbizon in companionship with Rousseau. A man of 


strong, massive form and blunt simplicity of manner, he found in the 
strength and sincerity of Rousseau’s ideals the very stimulus that he 
needed. His way of seeing nature was large and ample, intent on the 
big significances and their harmonious relation to a complete ensemble; 
his method broad, direct, and forceful, pregnant with intuition. From 
1832, when he first exhibited at the Salon, until 1849, when a long 
list of honors was crowned with the Cross of the Legion of Honor, it 
was as a painter of pure landscape that he was known. The picture | 
of 1849, “ The Mill,” shows the influence of Rembrandt, for he had 
recently returned from Holland; a visit which in a still more decisive 
way affected his career and subsequent fame. For several years 
previously he had been closely studying cattle, and had been urged 
by his friends to introduce them into his pictures. In Holland he seems 
to have realized at last their significance in the landscape, the oppor- 
tunity which they offered of noble masses of form and color, their 
intimate relation to the character and spirit of the scene. So at length, 
in 1855, after a prolonged sojourn in Normandy, he paints that mighty 
picture, ‘‘ Oxen Going to their Work,” and becomes the Troyon whose 
position in art is unrivalled and imperishable. Henceforth he is known 
as the greatest of all landscape and cattle painters; not as the painter 
of pictures always perfect in composition or absolutely perfect in draw- 
ing, but as the one of all others who gives the actual life of the cattle, 
without sentimentality, in its natural environment; whose landscapes, 
as Muther says, “‘ with their deep verdure, their massive animals, and 
their skies traversed by heavy clouds, are the embodiment of power.” 


WILLEM VAN DE VELDE (THE YOUNGER) 
1633-1707 
Bearing the same name as his father, and being the younger brother 


of Adriaan Van de Velde, Willem was born at Amsterdam in 1633. 
He was taught to draw by his father, and to paint by the marine and 


landscape painter, Simon de Vlieger. In 1677 both father and son 
went to England and entered the service of Charles II., continuing 
their official position under his successor, James II. Each was granted 
a yearly pension of one hundred pounds, the father “for taking and 
making draughts of sea fights,” the son “ for painting the said draughts 
with colors.” They lived at Greenwich, on the Thames, where the 
older Willem died in 1693 and the younger in 1707. “ Willem Van 
de Velde the son,” writes Walpole, “ was the greatest man that has ap- 
peared in this branch of painting; the palm is not less disputed with 
Raphael for history than with Van de Velde for sea pieces.” He is 
very fully represented in the National Gallery and the Royal Collec- 
tion, and his pictures are to be found in many of the English private 
collections, notably that of the Earl of Ellesmere and of the late Sir 
Richard Wallace. 


EUGENE JOSEPH VERBOECKHOVEN 


1799-1881 


Verboeckhoven was born at Warneton, West Flanders, in 1799. 
After commencing his studies with his father, Barthelem, a sculptor, 
he prosecuted them in England, Germany, France, and Italy, finally 
settling in Brussels. He was a member of the Academies of Brussels, 
Ghent, Antwerp, Amsterdam, and St. Petersburg, a member of the 
Legion of Honor, and of many European orders of merit. 


JULES JACQUES VEYRASSAT 


For his pictures, generally involving horses, Veyrassat received 
repeated medals and the cross of the Legion of Honor. He was born 
in Paris, 1823, and in early life studied under Lefman. 


JEHAN GEORGES VIBERT 


A Parisian of brilliant versatility—wit, critic, dramatist, as well as 
painter—Vibert in his pictures portrays the actualities of elegant life 
or a shrewd characterization, often humorous but always genial. A 
pupil of Picot and afterwards of Barrias, he began with historical sub- 
jects and made a failure. Thenceforth he followed the bias of his 
own temperament, and along the line of his special subjects has reaped 
a continual harvest of success. He early discerned the fascination of 
Fortuny’s skill in water colors, and practised the art himself, being one 
of the leaders in the new school of French Aquarellists and a recog- 
nized master of the medium. He received the ribbon of the Legion 
of Honor in 1870. 


MAX VOLKHARD 


Son of Georg Wilhelm Volkhard, historical and portrait painter, 
Max was born at Diisseldorf, and in time entered its Academy, study- 
ing under Eduard von Gebhardt. Later he studied in Brussels, Ant- 
werp, Bruges, and Ghent, also visiting Italy. His reputation is based 
entirely on genre subjects. | 


JOSEF WENGLEIN 


Josef Wenglein was born at Munich in 1845, and was one of the 
first of the Munich painters who ranged themselves alongside of Adolf 
Lier, upon the latter’s return from Barbizon. His favorite haunts 
have been the neighborhood of the river Isar, Bavaria, and the Black 
Forest, and his landscapes show a preference for effects of sunlight 
struggling with vapor and for masses of distant forest. 


FELIX ZIEM 


Ziem was born in 1821 at Beaune, a little town twenty-three miles 
southwest of Dijon. At the Academy of that city he received the art 
education which he supplemented by study from nature in the south 
of France and in Holland, receiving his first Salon medal in 1851 for 
a picture of Dutch scenery. Then he visited Constantinople and Italy, 
and found his true bent. Pictures of the Golden Horn and of St. 
Mark’s Place, exhibited in 1857, made an unusual sensation; he was 
elected to the Legion of Honor, and the remainder of his life has been 
devoted to variations on the dream of light and color represented in 
those two pictures. He has shared with Rico a recognized position 
as painter of Venice, but while the former depicts fragments of the 
city under the broad glare of noonday, Ziem has chosen wider hori- 
zons and rendered especially the dreaminess of morning light or the 
splendor of sunset, and in a spirit altogether more romantic. In the 
Eastern subject contained in the present collection, there is again this 
feeling for the romantic suggestion of the scene. 


a 


OE a a 


SALE AT MENDELSSOHN HALL 


FORTIETH STREET, EAST OF BROADWAY 


ON THURSDAY EVENING, JANUARY 30TH 


BEGINNING PROMPTLY AT 8.30 O’CLOCK 


Sense i D. B. GIOZA 15 


1—The Rehearsal 


In a chamber decorated with brown woodwork, above which runs 
a frieze of tapestry, is a gathering of people dressed in the costume of 
the sixteenth century. To the right, under a hanging lantern, sit a 
lady and gentleman, looking over a sheet of music. By their side sits 
a man with a mandolin, and from a raised platform in the front of the 
picture a man, leaning against the back of a chair, stands watching the 
group. To the left, in front of a high carved doorway, a lady leans 
back in her seat, turning her head and giving her hand to a gallant 
who sits with his back towards us. 


Signed at the left, and dated ’8o. 
Height, 6% inches; length, 9% inches. 


FLORIAN WISENGER 


f o / 4 
2—Fruit and Flowers ; q- 4 ay ts. 
Los f Xe 


Against a dark-brown background is bunched a mass of black- 
berries, ruddy leaves, purple dewberries, scarlet and yellow berberries, 
interspersed with wild flowers and some delicate sprays of grass. 


Signed at the right. 
Height, 7 inches ; length, 9 inches. 


Flaws 


E. J. VERBOECKHOVEN 


3—Sheep and Chickens 


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‘Near a railed fence and some bushes on the left of the picture are 
two hens, while in the centre lies a sheep, near which two others are 
feeding on the grass, that grows in scanty patches over the sandy 
ground. On the right a flat stretch of meadows, dotted with cattle, 
stretches to the horizon, where a tower is visible. 


Signed in the centre. 
Height, 6 inches; length, 834 inches. 


Verboeckhoven’s studies of animals are characterized by a minutely 
accurate execution and a sort of sculpturesque feeling, which may be 
due to his having been taught to draw by his father, who was a sculptor. 


Pbf- 


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ROSA BONHEUR : 


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es crouches under a bush. The dog leans back on three legs and 
the other one in the air. ae 


Signed at the right, and dated 1859. Bs 
Height, 83/ inches ; length, 11 inche 


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5—‘* Speak, Sir!” 


At a table, which has a white, lace-edged cloth over a Persian table- 
cover, sits a young lady, offering a piece of sugar to a greyhound, 
while a fair-haired child rests her arms upon the table, watching the 
game. The older girl has her blonde hair brushed off her forehead 
and falling behind, and wears a point-lace collar around the square-cut 
neck of her gown. 


Signed at the left, and dated ’71. 
Height, 1234 inches ; width, 9% inches. 


\ no 
EMILE MUNIER . bo 


Sitting side by side on a bank are two children—a little girl offering 
an apple to a boy in exchange for a taste of what is in his yellow bowl. 
She is clad in a dark-gray bodice and dark greenish-blue skirt, over 
which a dull-green apron is looped up, while the boy, who has his hand 
behind his companion’s back, resting against a tree trunk, wears a blue 
waistcoat and brown breeches. A little black and tan dog stands be- 
side the girl, and on the ground to the left is a basket with apples, 
bread, and a white cloth. 


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21f.— 


6—A Fair Exchange 


Signed at the left, and dated ’71. 
Height, 1234 inches ; width, 9% inches. 


EL lrg pe 


7—Street in Damascus 


ALBERTO PASINI 


‘ by 
The scene is the end of a narrow street, with a gallery along the wall 
of the house on the right, and a structure of beams and broken thatch 
across the roadway, beyond which the street terminates in an arch- 
way. Near the foreground a man in rose-colored cloak, riding a brown 
horse, has stopped to speak to a figure wrapped in white, with a red 
and orange bernouse on his head. To the right, upon a stone ledge 
projecting from the wall, a man in amber and blue tunic sits smoking; 
and near him another, in a red fez, stands leaning forward as he reads 
a paper. Across the angle of the street, on the left side, is suspended 


by its corners a dull-red awning. 


Signed at the right. 
Height, 9% inches ; width 7% inches, 


In his outdoor genre of Oriental scenes Pasini has made for him- 
self quite a unique reputation. He suggests the piquancy of detail 
in the architecture, while maintaining also much breadth of treatment, 
especially in the management of light and shade and in the rendering 
of warmth, and enlivens his pictures with figures that are more than 
subsidiary, for they are individual in character as well as units in a 
general scheme of animation. 


ISL - 


AUGUST VON PETTENKOFEN 


bi b 5 8—Soldiers at Breakfast 4 Hiicbhel 
/ 


In the courtyard of a little whitewashed house three soldiers are 
eating their midday breakfast, their accoutrements being piled against 
a fence on the right. From an arched doorway a woman in blue apron 
and rose-colored skirt, with a kerchief of the latter color over her head, 
is coming towards them with a dish. To the left of the group is a 
little tree, and between the arches of an upper gallery flutter the pink, 
white, and blue of clothes hanging on a line. 


Signed with monogram at the left, and dated 1850. . 
Height, 12 inches ; width, 10 inches, 


Pettenkofen spent his summers in the town of Spoenok, on the 
Theiss, near Pesth, wandering among the little whitewashed houses 
and noting the people busy at their work or resting in the sunshine. 
He avoided painting character, and contented himself with rendering 
simple actions at picturesque moments, and always in a delicate scheme 
of color. Among his early patrons was Sir Richard Wallace. 


se 


4 wbbeed, 
‘ C. MANNICARDI 


Te 


g—Fully Absorbed 


In a dull-pink interior a boy is sitting on the edge of a chair, split- 
ting a piece of osier. He wears a gray felt hat with the brim turned 
down, a drab checked jacket, and gray trousers, and by his side on the 
seat of the chair is a basket covered with a white cloth. 


Signed at the right. 
Height, 14 inches; width, 1o¥ inches. 


Sane 
Pony 


EDUARD CHARLEMONT 


7448. 4 Le ‘ 
10—Planning the Campaign eds 


‘ The conference is being held in a room that opens into a white, 
lighted corridor, at the entrance to which is a guard on duty holding 
a spear. To the right of a table covered with a green rug, a man, in 
black costume and white ruff, sits with his elbow on the table, resting 
his chin on his hand. Opposite to him another leans forward, with 
his left hand on the arm of his chair and a malacca cane in his right, 
and looks over to a gentleman who stands on the right of the table. 
The latter has brown curls hanging over a lace-edged collar, and wears 
a drab leather doublet with blue satin sash, and red trunks and boots 
reaching above the knees. Near the centre of the picture two men 
standing against the wall in shadow are watching the proceedings with 
interest. 


Signed at the left, and dated ’85. 
Height, 10% inches ; length, 14% inches. 


From the Fauvre Collection. 


Cad. me .([f 
Wiry_ > atend 
T 1 do (2390) 


WA 4, A olf eat a LESSI yy 1p 


I 1—Bhie Smoker 


Sitting in a square-backed chair, a man with half-closed eyes and 
his mouth drawn down at the corner by his long pipe is giving himself 
up to the enjoyment of a smoke. He wears a black beaver hat with 
very wide brim, and a doublet of smooth red cloth with slashed sleeves 
that are lined with buff and show the white shirt underneath. 


Signed at the right. 


Height, 113/ inches ; width, 9 inches. 


From the artist. 


. @ 


f yi " R. CERVERA , 
7” VAS QOY 
| 12—Absalom and Tamar {) : bay aaa 


This is a copy of Cabanel’s picture of the same subject. Absalom, 
in a loose white robe edged with gold, is sitting on a divan, and his 
sister in her grief has flung herself across his knees. Her body is 
nude to the waist, the lower part being swathed in white drapery, orna- 
mented with gold and plum color. Against the blue-tiled wall on the 
right of the picture leans an attendant, in yellow and blue headdress, 
and a wrapping below the waist of rose material. 


Height, 1414 inches; length, 18 inches, 


T %, Shee "4 TONY FAIVRE 


13—The Gains of a Day < 4E , 


In a corner of some Italian village a little pifferone is counting 
money into his felt hat, while a little girl nestles close to his side, with 
her hand on his arm as if checking off the count. The boy has a brown 
coat and red vest, and wrappings of black and white around his legs. 
The other child, whose tambourine rests against a fence at her side, is 
dressed in a full-sleeved white shirt, with black velvet bodice and a 
scarlet skirt, over which hangs a green apron with broad decorated 
border. 


Signed at the right. 
Height, 18% inches; width, 14% inches, 


JULES JACQUES VEYRASSAT’ 
ER See | fa 
‘ 14—Crossing the Ferry 4 a) ladmer 


A ferryboat laden with horses and men is being pushed off from 
the bank on the right of the picture, conspicuous in the group being 
a black horse with a man on its back. The bank curves back to the 
middle distance, where a figure is standing by the water watching a 
barge floating in midstream. On the opposite side of the river is 
a faint, low line of land. 


Signed at the right. 
Height, 1214 inches ; length, Ig inches. 


t 4% * 


i G. BARBINI 
15—In the Wine Cellar 


In a cellar a girl is kneeling before a cask, drawing off some wine 
into a pitcher, her face catching the glow of the lantern that is held 
by a cavalier who sits to the left. His costume consists of an old rose 
velvet doublet, dull-green trunks with buff stripes, and long russet 
boots drawn up above the knee. 


Signed at the left. 
Height, 20% inches ; length, 18 inches. 


m> * 


a. 


16—Horses Seeking Shelter from a Storm 


ADOLF SCHREYER 


Out of a dull, leaden sky the wind from the left is whirling the 
snow in fine dust against a low hut and a stretch of wall, behind which 
a number of horses are huddled for shelter. On the outside of the 
group is a whitish mare, with a little black colt by her side. On the 
left a dog is limping through the snow, and figures are dimly seen 


within the open doorway of the hut. 


Signed at the right. 
Height, 13 inches; length, 23 inches. 


Schreyer thoroughly knows his horse; and equally the stern life 
of Siberia or the glowing warmth of the Orient. His resolute dash, 
tempered with great refinement, gives to his pictures an individual 
distinction. While the incident that he depicts is realistically rendered, 
he adds to it the further charm of imaginative treatment. 


ae 


ALBERTO PASINI : 


17—Shnset at Thebes with a View of the Memnon 


A strip of desert is bounded by gray, rocky hills, and in the fore- 
ground two sitting colossi loom sharp and clear against the brilliance 
of the evening light, which is bursting up from the white and rosy 
horizon towards the blue sky above. Near the farther statue is a low, 
broad-angled tent, to the right of which are some figures beside a fire. 
In the foreground three camels are disposed over the scanty brown- 
green grass, which is interrupted on the right by a little pool of water. 


Signed at the left. 
Height, 16 inches ; length, 22 inches. 


A fortunate chance permitted Pasini early in his career to visit the 
East, and during several years’ residence in Turkey, Arabia, Persia, and 
Egypt he accumulated the experience which he uses so effectively in 


his pictures. From one of his masters, Isabey, he had acquired the 
facility of introducing brightly animated groups of figures, which give 
his landscapes the additional interest of genre pictures. ‘‘ His color 
is strong, bright, and true, and his grasp of form and character 
vigorous.” 


LOUIS EUGENE ISABEY 


tas : 
f 18—The Love Message Au fi bude 


Through the square shutter of the front door of a little house a 


Dy 


2 ay 


hand is thrust out to receive a letter, delivered by a man who stands at 
the top of a flight of steps. He has long sandy locks, wears a white 
doublet with tags of pink ribbons, black loose breeches, and scarlet 
stockings, and holds a drab felt hat with a big feather on his hip. 


Sitting on the steps is a King Charles spaniel, and on the balustrade 
rests a tray with gray pitcher and tumbler. Roses and hollyhocks 
grow in profusion to the left of the steps. 
Signed at the right. 
Height, 2514 inches ; width, 18% inches. 


From the artist. 


Isabey’s was a delightful, sympathetic individuality, that made for 
itself a world of fancy, in which beautiful costumes and elegant come- 
dies of manners were depicted with studied gracefulness and vivacity 
of color. 


JOSEF WENGLEIN 


19—Borders of the Black Forest 


Foresters are resting in a glade that is bounded in the distance by 
ranging ranks of forest. On the right of the pale-buff grass a man 
sits upon a stump smoking, while another is stretched upon the ground, 
and a third stands with his hand on a dog’s head. On the other side of 
the picture a number of men, standing or sitting, are strung out in 
line under three birch trees. 


. Signed at the left, and dated ’8o. 
Height, 20% inches ; length, 29% inches. 


Wenglein was one of the first of the German painters to feel the 
influence of the Barbizon painters, and his pictures show a close study 
of the simple characteristics of natural landscape. 


Af i 
da ally KARL PROBST > » . 


20—The Trumpeter of Seckingen 


The trumpeter, with rapier in his right hand and black beaver hat 
in his left, is saluting a lady who, in the alcove of the window, has risen 
from her embroidery frame to receive him, while a girl who sits oppo- 
site to her leans forward with her right hand extended. The costumes 
are of the middle of the seventeenth century, the lady’s being white, 
the girl’s black. A black cat is rubbing its body against the wainscot 
of the window. 


Signed at the left, and dated 1888. 
Height, 2214 inches ; length, 27 inches. 


VICENTE “PALMAROLI 


21—-Contemp ation 


Against the dull-red window curtain of a brownish-colored room, 
a girl, dressed in white with a bunch of violets on her bosom, sits upon 
a bright-red settee in an attitude of reverie. Over the edge of the 
latter is spread a small tapestry rug, on which lies an open book, and 
on the floor is a gray vase, decorated with blue and brown streakings, 
holding a palmetto. The girl’s head is turned to the right, almost 
facing us; her blue eyes look up, and her right hand is laid upon her lap. 


Signed at the right. 
Height, 30 inches ; width, 20 inches. 


Palmaroli has the Spanish love of brilliant color, and has been de- 
scribed as resembling in his style a mixture of Fortuny and Meissonier. 


CHARLES FRANCOIS DAUBIGNY 


The subject is a harvest field, with figures and a loaded wagon. 
Low down in the picture a dark hedge stretches across the horizon, 


4 
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22—Landscape 


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irregular in form and accented on the right with a tall poplar and a 
smaller one near it. A patch of green meadow connects this with the 
middle distance, where a wagon is seen, and to the left of it the stand- 
ing figure of a woman ina red cap. A little nearer on the left is an- 
other woman with white bodice and cap, and on the edge of a road in 
the foreground a man stooping. To the right of him is a heap of 
sheaves. 


Signed at the left. 
Height, 5% inches ; width, 9% inches. 


While his brethren of the Barbizon school were painters of nature, 
Daubigny was the painter of the country—its simple pastoral charm 
and quiet stir of human occupation, with a preference for the hush and 
tender mystery of the twilight. 


1g JULES DUPRE 
23—The Pond: Sunset 


The evening sky is reflected in hues of cream and wine-rose on the 
surface of a pond, to the right of which is a thicket. In front of it, 
near the edge of the water, is a larger tree, beneath the shadow of which 
aman stands ina punt. On the opposite side a low slope of grass with 
a willow upon it, projects into the water. To its left is a bold mass of 
brown foliage, and on the horizon a few low cottages are shining 
among darker, taller houses. : 


Signed at the right. 
Height, 1014 inches; length, 133/ inches, 

Dupré was the romantic poet of the Barbizon brotherhood. He 
painted nature in her stressful moods, or in the calm which follows 
after storm. He was a magnificent draughtsman, yet not so much 
intent, as Rousseau, on the forms themselves as upon their significance 
in relation to his passionate, melancholy conception. His color, too, 
rich and glowing or turbulent and murky, has a character of grandeur. 


Mi 


Sed 


24—The Hussar 


JEAN LOUIS ERNEST MEISSONIER 


His arm resting on the neck of a white charger, the trooper stands 
with the weight of his body on his left leg, the right being thrown 
across it. He wears the uniform of the Hussars—a short greenish- 
blue tunic, trimmed down the front of each edge with buttons and white 
cord twisted and looped, trousers of green cloth, with a series of 
buttons on the red stripes, and a high green cap barred with white, 
which shows against the red cloth and sheepskin on the holster. 


Monogram at the right. 
Height, 73/ inches ; width, 53/ inches. 


From the Secretan Collection, Paris, 1889. Catalogue No. 61. 


Meissonier’s exquisite craftsmanship assumes its choicest expres- 
sion in his little pictures, for in them he manages to suggest a breadth 
and bigness which are more akin to the spirit of a historical subject 
thanagenre. In them, also, besides excellent drawing and brush work, 
he reaches often a very distinguished charm of color. 


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CHARLES FRANCOIS DAUBIGNY 


25—On the Water’s Edge 


The water extends across the picture, and in front, among the lily 


rise sothe small trees that hang their brownish-yellow foliage against 
the sky. The water is bounded by a woody bank which slopes up 
smoothly on the right. On the right drifts a boat with bare mast, and 
in the little rowboat that trails from its stern is a figure. Other boats 
appear in the centre of the middle distance and underneath the bank 
on the left. 


Signed at the left. 
Height, 83/ inches ; length, 15% inches. 


“ Daubigny,” writes Muther, “had the secret of shedding over his 
pictures the most marvellous tint of delicate, vaporous air, especially 
in those representations at once so poetic and so accurate of evening 
by the water’s edge. The painter of the banks of the Oise saw every- 
thing with the curiosity and love of a child, and remained always a 
naive artist in spite of his dexterity.” 


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JEAN BAPTISTE CAMILLE. COROT 


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ep CONSTANT TROYON bEr i 


27—Study of a Cow and Landscape 


A red cow, with white markings on the face, chest, belly, and along 
the line of the back, stands across the picture, facing to the right. On 
the left is a mass of russet-green foliage, the upper sprays of which 
hang over the cow’s back; and the meadow passes through tints of 
green, brown, and bluish-green to a gray horizon. 


_ Stamp of the Troyon sale at the right. 
Height, 12% inches; length, 16 inches. 


28—A Marsh in Spring t ‘taneled 


THEODORE ROUSSEAU 


de , a + cd 


Above the flat horizon is a pale-blue sky with layers of eee 


cloud. In the middle distance are some trees fledged with young 


leaves, and to their right a cottage, beyond which appear a little church 
and house. The marsh occupies the foreground, bordered on the 


right by grass, scrub, and stones. Ona little spit of land that jutsinto 


the water some brown cows are approaching to drink. 


Signed at the left. 
Height, 13 inches ; length, 21 inches. 


Rousseau’s devotion to form and to analytical study led him, dur- 
ing part of his career, to paint with a minuteness of detail that does 
not appear in his earlier and later pictures. But always he painted — 
with infinitesimal patience. Alfred Sensier describes how he visited 


” 


him while he was engaged upon the “ Charcoal Burners,” one of the 


retouching the 


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broadest and strongest of his works, and found him 
masses with indescribable subtlety.” 


CHARLES EMILE JACQUE 


2ge. Watering: the Sheep 


Heavy, slaty clouds are rolling up from the left, and dark, stunted 
trees, bending to the right, stretch across the picture. From under 
the trees on the left the sheep are crowding down a slope to a little 
pool in front, where two sheep in front of the flock are drinking with 
their muzzles inclined towards each other. A little to the right a lamb 
is peering from beneath the neck of an ewe. The shepherdess, wear- 
ing a blue apron and a violet-rose bodice with white sleeves, and carry- 
ing a blue jacket on her arm, holds her staff in her hand as she turns 
to look at her dog, who gazes up into her face. 


Signed at the left. 
Height, 20 inches; length, 26 inches. 


Jacque has been called the “ Troyon of Sheep.” Certainly no one 
has surpassed him in the comprehension of their character and form, 
or in the way in which he makes them contribute to beautiful pictorial 
results. He is a perfect draughtsman, and, at his best, a colorist of 
great distinction, especially in harmonies of rich sobriety. He was a 
man of great force of character, and this quality is represented in his 
work, 


SOM 


30—In. the Harem 


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NARCISSE VIRGILE DIAZ a 
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The scene is a court of white masonry Bg tegicn. with vines and 


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crossed at intervals by beams, between which a brilliant blue sky is 
visible. Disposed in various attitudes are a number of women in gayly 
colored robes of blue, rose, amber, purple, and white. At the back 
two sit over a game which two others are watching. Near the front of - 


the picture, on the right, a woman in amber skirt leans against Hie Le a 


wall, and a eunuch sits cross-legged near her. Conspicuous in the 
group on the left is a mother, sitting on the ground, with a child lean- 
ing over her knees. . 


Signed at the left, and dated ’56. 
Height, 2534 inches ; width, 193/ inches, 


The exuberant creative faculty of Diaz, that found its fullest nour- 
ishment in the deep glades of Fontainebleau Forest, would seize on any 
pretext that could afford a basis for his fantasies of light and color. He 

plays on both with the happy improvisation of a musician on his instru-_ 
ment. His colors have the es and purity of jewels flashing on 


a lustrous veil of light. | : ee 


4 (320n duh 


EMILE VAN MARCKE 


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31—Cattle Returning Home 


Down a grassy lane, irregularly bordered with bushes and small 
trees, a mixed herd is returning home, followed by a man whose gray 
shirt, blue cap, and bundle of fagots are visible above the backs of 
two sheep. <A black dog heads the group a little in front of a white 
cow that moves alongside a yellow one, to the left of which is a tawny 
red one looking round. To the right of the picture is a goat strain- 
ing up to nibble at the bushes, and in the background a brown cow 
stands knee deep in the long grass. 

From the collection of Sir Richard Wallace. 


Signed at the left, and painted in 1868. 
Height, 17% inches; length, 274 inches. 


Troyon’s best pupil, Van Marcke gradually created a style for 
himself. He was a master of drawing and composition, and painted in 
fresh, lively colors with bright effects of light. His landscapes are as 
good as his cattle, and show a partiality for warm sunshine or cool, 
showery skies over rich, moist pasture. 


| ASS 
JEAN BAPTISTE CAMILLE COROT 


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A horseman is approaching along a sandy road, which winds gently 


a YOO. 32—Landscape and Equestrian F igure 


down beside a steep, brownish cliff on the leit of the picture. To his 
right is a group of four birch trees, which rear their high stems and 
spread their bunches of foliage against a pale-lighted sky, broken here 
and there with intervals of delicate blue. On the extreme right is a 
mass of dark-green foliage, and a bar of deep blue stretches across the 
horizon. 

The picture was painted for Daubigny, and was included in the lat- 
ter’s collection at his death. 


Signed at the right. 
Height, 52 inches ; width, 22 inches. 


In his landscapes, however slight may be the means employed, 
Corét displays a faculty of making one share the motive which im- 
pressed himself. In this one he has felt, as usual, the delicate vibra- 
tion of light in the sky and the gentle stir of foliage softly silhouetted 
against it, and apparently has felt as well the romantic suggestion of 
this lonely spot, on one side so completely walled, and still further 
isolated by the vastness of the sky. 


| CONSTANT TROYON 


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33—Landscape with Cattle 


3 
The spot represented here is a meadow on the mouth of the Seine, 
near Honfleur. On the left, sheltered by trees, stands a thatched cot- 
tage with a lean-to shed. Stretching across the picture, along the edge 
of the water, is a wooden fence, over which leans a man in a blue 
blouse, a little to the right of a turnstile, that is reached by a straggling 
path. Moving leisurely across this is a cow; two sheep are grazing 
near it, and other cows are grouped to the right, while beyond these 
two colts are galloping side by side. On the left of the path a woman 
in a red skirt is milking a brown and white cow, and dotted over the 
grass behind her are chickens. 


Signed at the right. 
Height, 32% inches; length, 5234 inches. 


Troyon had won distinction in landscape before he turned to the 
study of cattle, which has made his fame enduring. It is a special 
virtue of his later pictures that he grasps so thoroughly the significance 
of the animal—not only its particular character, but its relation to the 
landscape. It is no question of a landscape with cattle, or of cattle 
set in landscape. He sees the two as one conception: the cattle nour- 
ished on the richness of the pasture; the latter, because of them, a 
source of prosperous contentment. No painter has so completely 
realized this interdependence, and expressed it with such a sense of 
vigorous amplitude or of serene and wholesome reality. Without 
poetical intention, he yet reaches the poetry of pastoral life by sheer 
force of truth. 


| BAREND CORNELIS KOEKKOEK | 


3 (7 wine %, %, | 
34——Environs of Cleves . qt. PAUnmtty Awe 


The shadowed foreground declines from a steep, rocky bank on the 
left, luxuriant with ferns and bushes, across a road and down a slope 
strewn with bowlders, on one of which stands a little cross, to a shal- 
low stream on the right. Halted on the road are two peasants talking 
to a woman in a red petticoat. Sunlight illuminates the middle dis- 
tance, where cows are seen, and a wagon and horses are crossing a 
bridge to a mill. On the rising ground beyond the latter are the round 
towers and curtain walls of a roofless castle. Its walls on one side 
descend sheer down to the stream, which winds away to the right and 
disappears through a rocky gorge. Behind the ruin, to the left of the 
picture, is a large house among the trees. 


Signed at the left, and dated 1848. 
Height, 34 inches ; length, 44 inches. 


The landscapes of Koekkoek mark the early attempt of the nine- 
teenth century Dutch painters to revert to the great traditions of the 
seventeenth century. But while they turned again to nature, they 
tried to interpret it with the minute skill in brush work that they had 
learned to admire in the Flemish painters. It was not until the influ- 
ence of the Barbizon painters had been felt and assimilated, that the 
Dutch landscape recovered its breadth, significance, and truth. 


eo5 


Cad. 


MIHALY MUNKACSY Afb ff 2m 


P 


35—Landscape with Washerwomen 


Two women kneel side by side in similar attitudes, rubbing linen 
upon their washboards, which rest on the edge of a shallow brook. Be- 
hind them sits an old woman near some baskets, her white cap showing 
against the green meadows on the left of the picture. In the water is 
reflected the white light that fills the centre of the sky, which becomes 
rosier above, and on the horizon glows a pale, claret color. Large 
beech trees stand on both sides of the brook, their foliage forming an 
irregular arch, through which appear, beyond the meadow on the right, 
a thatched white cottage and a little building with a bell turret. 

The scene is a spot near the artist’s home in Hungary. 

Signed at the left. 

Height, 32 inches; length, 45% inches. 


From the artist. 


Munkacsy in his later period passed from the cramped traditions of 
the German school of his youth to the wider influences of Paris, espe- 
cially to the enjoyment of color, light, and atmosphere. His land- 
scapes reveal that large and romantic feeling so characteristic of 
Hungarian landscapes. 


FELIX ZIEM : 


ise 
I} f 36—Oriental Scene i . lef x nub 


A row of bright-hued figures, their Oriental costumes presenting 
vivid spots of white, scarlet, blue, and amber, sit across the grass near 
the front of the scene, the animated line passing from the brilliant sun- 
shine into the subdued light and adjoining shadow of a white kiosk 
situated towards the left. Its four arched sides are surmounted by 
overhanging eaves, above which the roof rises in a little dome or cupola. 
Behind it is a grove of bright and pale green foliage, brown in the 
shadowed parts, above which the single date palm rears its top against 
the vividly blue sky, flecked with soft white tufts of cloud. Behind 
the figures on the left of the picture is a little tree with pink blossoms, 
and further back beyond the grass a strip of deep-blue water, on the 
edge of which a line of buildings glows with rosy yellow, a minaret 
and dome being faintly outlined against some low, distant hills. 


Signed at the left. \ 
Height, 27 inches; length, 44 inches. 


Not every painter is so fortunate as to discover early, as Ziem did, 
the true bent of his artistic temperament. Soon after he had mastered 
his craft, the visit to Constantinople and the Orient awoke his imagina- 
tion to the joy of color. Throughout his busy career—in the East, 
in Venice, and in harbors of southern France—he has played inces- 
santly on this theme of color. 


Cad < ao. 37 


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{Chad baofield 


ALPHONSE MARIE DE NEUVILLE 


BOLD = 


37—The Trumpeter 


A trumpeter belonging to the Infantry of Marine, holding his trum- 
pet in his left hand, is stooping to pull up his leather gaiter. It is 
wrinkled and stiff, weather-worn like the blue coat and red-striped blue 
trousers, for the regiment is on active service and in heavy marching 
order, and the road is covered with snow. On his bent back is piled 
a knapsack with blanket and tin pannikin, and a rifle is slung from his 
shoulders. In the murky blurr of atmosphere beyond are two cot- 
tages, and to the right the halted regiment, in front of which two 
officers stand out a little more conspicuously. 


Signed at the left. 
Height, 50 inches; width, 33 inches. 
From the artist. 


While Detaille has painted the soldier, de Neuville is the artist of 
the soldier’s life. He has grasped its stern prosaicism, and out of it 
evolved romance. His battle-pieces are among the greatest of any 
time, and even in so simple an incident as the one depicted above he 
puts us in touch with the realities of the life, and the sacrifice which 
transmutes butchery into heroism. 


| EUGENE JETTEL 
Ap —- : 


38—Sunrise in Holland is Lod haf 


In the centre of the sky hangs a full moon, primrose colored, but 
suffused with crimson below, where its orb is seen through the warm 
gray vapor that rises above the horizon. Stretching to the front of 
the picture is an irregular sheet of water, bounded by meadows, and 
interrupted with masses of rushes and water plants. Towards the right 
is a punt, in which a man stands leaning over the side. Beyond it 
are two cows in the shallow water, and further back a windmill shows 
above a row of trees, while in the distance, on the left of the stream, 
appear three more windmills and a little white cottage with a red roof. 


Signed at the left. 


Height, 35 inches ; length, 50 inches. 
From the artist. 


Jettel was.a sympathetic student of nature, in whose work one may 
feel a little echo of Cazin’s influence. If so, it is in the delicate choice 
of color and feeling for the sentiment of atmosphere; though his work 
at the same time is distinguished by much sturdiness of character. 


» «at 


4 4g: MIHALY MUNKACSY 
. te 


Loop- 


39—Grandfather Sleeps 


Beside a table covered with a dull-rose cloth, on which are a blue 
lamp with a shade and a pot of geraniums, a golden setter lying at his 
feet, the old man is asleep in his armchair. His head is bent forward 
over the red lapels of a black dressing-gown, a paper lies on his lap, 
and a meerschaum pipe dangles from his left hand. To his left is a 
little tabouret with coffee cup, pot, and pitcher, and behind him a brown 
oak chest, on the shelf of which are a blue stein and jar. Through the 
open door a lady directs the retirement of a little girl in pink, and of a 
boy who carries a toy horse. 


Signed at the right. 
Height, 37 inches ; length, 56 inches, 


From the artist. 


After Munkacsy settled in Paris his style of painting became more 
facile; he passes from the gloom of bitumen to a cheerfulness and some 
mellowness of color; and his subjects, generally sumptuous in arrange- 
ment, have a greater charm of atmosphere. 


(bet. 


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VACSLAV VON BROZIK *~ . 


40—Christopher Columbus at the Spanish Court 


This is a reproduction, with slight variations, of the large picture 
in the Metropolitan Museum. The moment chosen by the painter is 
when Columbus has made his appeal, and the Queen, meeting the 
objection of a depleted treasury, is offering her jewels to defray the 
expenses of the expedition, and the King is about to sign the document 
that resulted in the discovery of the New World. 


Signed at the left. 
Height, 35% inches ; length, 60 inches. 


From the artist. 


For his historical subjects, executed during his Paris period, under 
the influence of Munkacsy, Brozik won repeated honors. The story 
is told with dramatic decision, the elaborate mzse-en-scone is accurate 
in detail, and the individual characterization varied and expressive. 


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| MAX VOLKHARD 
x aa bs os Lh ff - 


41—The Undecided Question 


On the left of the picture a cavalier is sitting in an attitude of un- 
certainty, his head supported on his hand, the fingers run through his 
hair, while on the opposite side an older man, sitting with his back to 
us, turns his head to him, pointing at the same time to a document 
which lies on the table between then. Their costumes belong to the 
early part of the seventeenth century; the cavalier’s consisting of a 
white silk doublet tagged with pink, the sleeves open to the shoulder 
and displaying a pale-rose under jacket striped with lace, brownish- 
red velvet breeches, and high drab riding boots. At his feet, looking 
up into his face, is a brown, long-haired deerhound. The older man 
wears a black, sleeveless doublet over a fawn-colored jacket, and his 
high steeple hat lies on the table alongside of a carved silver inkstand. 


Signed at the right. 
Height, 30 inches ; length, 4o inches. 


Max Volkhard has a telling way of representing the incident, and 
elaborates it with details that are well drawn and excellent in texture— 
qualities which he seems to have derived from the study of Flemish 
painting. 


PEL 


~+42—Autumn Flowers 


JEHAN GEORGES VIBERT ~~ ~s 


Fan 


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Water Color 


In a corridor, whose walls are covered with an arabesque design, 
separated by an arch from rooms beyond, stands an elaborate foun- 
tain. In its basin of red marble is a bronze monkey, behind which the 
carved structure, on which is a bird in low relief, rises to an apex, sur- 
mounted by a gilded bust. Between the fountain and a profusion of 
flowers, conspicuous among the latter being a blue porcelain jar filled 
with white, pink, and creamy roses, stands a lady with scissors and 
flowers in her hands. Folded across the dainty embroidery and pink 
ribbons of her chemise, and caught up over the white flounces of her 
petticoat, is a Japanese kimono of dull-gold damasked silk. In front 
of the fountain a tabouret, inlaid with mother of pearl, bears a grotesque 
vase representing a duck, in which is a bunch of mauve flowers. 


Signed at the right. 
Height, 40 inches ; width, 27% inches. 


The sparkling vivacity of color and elegant characterization which 
distinguishes Vibert’s work is here transferred from a human study 
to that of flowers and textures, for the lady is but an incident in the 
brilliant scheme of blossoms, satins, marbles, and porcelain. 


M$. hearty 


JULIEN LETOUR 


‘ isa W- 


43—Flowers 
Water Color 


- Ina gray-blue china jar, decorated with little sprays of brown and 
buff, is a large mass of white and mauve lilac. A glass bowl on a 
pedestal is filled with crimson raspberries, and near it lies a bunch of 
pansies. In a wine glass to the left are roses and white blossoms. 


Signed at the left. 
. Height, 32 inches; width, 2134 inches. 


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picture. 


PT Rg Rt OF Ve Ee ihe a een meet ea 


eye; and still farther back are others. In the distance, ae 1g 
his dog under a willow tree, is the shepherd, in a blue blouse, 
hands in his pockets. 


Signed at the right. 


hb Sunken 
DE LUC Gh- 


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‘45—Cattle 
Water Color 


A white cow and a light-red one stand facing us, in the water, 
which is scattered over with leaves and lilies and bunches of rushes. 
Behind them is a sloping bank and a line of trees, beyond which, on 


the right, appears the brown roof of a cottage. 


Smooth hills stretch 
across the horizon. 


Signed at the left. 


Height, 39% inches; width, 21 inches. 


46—Coast of Normandy, near Dieppe : 


Water Color eal 


be We ’ 


Signed at the right. 


a ™ 


13L.— 


GEORGE THOMPSON 


47—Sunset in Venice 


Water Color 


On the left of the picture are mooring posts, alongside of which 
is a black-hulled boat with buff sail, edged at the bottom with a red 
border. A stretch of the city extends along the right, with a campanile 
and white domes raised against a saffron and rosy sky. In the front 
is a dull-red reflection on the water from a sail far back in the centre 
of the picture, and to the right boats are moored to a barrel buoy. 


Signed at the left. 
Height, 21 inches ; length, 29 inches. 


JEAN FRANCOIS MILLET 


48—The Weary Shepherdess 4 he. : / 
e Ne 
bof oe Water Color and Pastel 


™~ i> Upon the ledge of a rock, which, with overhanging foliage and 
some small trees, fills the right of the picture, sits a shepherd girl asleep, 
with her head bowed over her right arm, which is extended horizon- 
tally along the rock. To the left of her a dark-brown curly dog is 
looking away from us over the lower ground, where, just below the 
dip of the ground, appear the heads and backs of some sheep. Beyond 
them is a pale-green meadow, dotted with haycocks, and in the distance 
a hedge, red roofs, and a line of poplars. 


Signed at the right. 
Height, 1614 inches; width, 113/ inches. 


“ Millet’s power,” says Muther, “is firmly rooted in the drawings 
which constitute half his work. And he has not drawn merely to make 
sketches or preparations for his pictures; his drawings were for him 
real works of art, complete in themselves, and his enduring and strongly 
grounded fame rests upon them. His pastels and etchings, his draw- 
ings in chalk, pencil, and charcoal, are astonishing through their 
eminent delicacy of technique. The simpler the medium the greater 
is the effect achieved.” 


wn - ADRIAAN VAN OSTADE $3 ra 


49—Man with Jug 


A toper, resting his elbow on the table, tilts up a brown jug with 
pewter lip and looks into it out of the corners of his eye. He wears a 
big, soft, black hat, with brim turned up over his curly hair, and a 
brown, sleeveless jacket, which shows the full olive-black sleeves of 
an under garment. 


Height, 9% inches; width, 734 inches. 


A favorite pupil of Franz Hals, Van Ostade is one of the strongest 
of the “little masters” of Dutch genre. His compositions are skil- 
fully arranged. There is much subtlety of light and shade and delicacy 
of color ; the action of the figures is well expressed, and the brush work, 


notwithstanding its precision, broadly applied. 


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PIETER VAN . SLINGELANDT 


50—The Hermit co Y, Aaa aie 


The hermit, sitting under a rocky bank surmounted by the roots 
of trees, is reading in a big tome that rests upon his knees, some of 
the leaves being held between the thumb and forefinger of the right 
hand. His strong, ruddy brown face, and the mustache, beard, and 
tonsure of gray hair, are painted with minute elaboration, a similar 
studiousness of brush work being expended upon the pages of the 
book and its brown leather cover, which has a projecting flap and 
strap. The old man wears a dull russet-green habit with hood. Be- 
yond him, on the right, are a shepherd and his flock, and two other 
figures appear in an undulating pasture that terminates in hills. 


Height, 1014 inches ; width, 8 inches. 


From the Duke of Somerset’s Collection. 
From the Duke of Hamilton’s Collection. 


A close follower of Gerard Dou, Slingelandt, like the rest of the 
“little Dutchmen,” attempted to reproduce in his tiny genre pictures 
Rembrandt’s handling of light and shade. His pictures lack the sig- 
nificance of composition and color which may be given even to small 
subjects, and are apt to be labored in method. Yet their infinite detail 
has secured them popularity. 


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51—The Merry Couple 


A woman is sitting with a metal porringer on her lap, while a man 
at her side turns round in his chair and nips her arm with a pair of 
tongs. Full white sleeves project from her red bodice, and below her 
brown-olive skirt the bare feet are thrust into slippers. To the right 
of the background is a high, funnel-shaped chimney and a small fire 
on the hearth, and on the other side of the picture a view through an 
open door of a person in bed. 


Signed at the upper right. 
Height, 11% inches ; width, 9 inches. 


Jan Steen drew human nature on the humorous side; sometimes 
with unnecessary grossness, but always with truth of character and 
gesture. He was master of composition, with a special skill in intro- 
ducing the effect of accidental combinations; his color was of good 
quality, and the brush work graceful and vivacious. 


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NICOLAS BERCHEM (OR BERGHEM) 
TIES . 


52—Landscape with Figures and Animals 


A group of figures and animals occupies a spot which is bordered 
on the right by a steep wall of brown rock that slopes down to where 
the road dips out of sight. The light is concentrated on a woman 
who kneels in the centre, washing linen. Behind her a dull-red cow is 
being milked, and to the right of it are a sheep and a black and white 
goat. On the left of the picture a shepherd, accompanied by a black 
and white dog, stands talking to the woman as he leans on his staff. 


Signed at the right. 

Height, 14 inches ; length, 1734 inches. 
From the Duke of Somerset’s Collection. 
From the Duke of Hamilton’s Collection. 


Berchem is chiefly famous for his landscapes with figures and 
animals, which follow the Italian tradition of Claude Lorrain, and 
are distinguished by good composition, warm coloring, and brilliant 
lighting, being painted with finesse and yet with considerable freedom. 


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‘DAVID TENIERS, THE YOUNGER 


1700 - 


53—Drinking Scene in an Ale-house 


The scene is a kitchen with olive-drab walls, having a small win- 
dow high up on the left and a shelf facing us, on which are bottles 
and other articles, while underneath hangs a blue and brown jug. In 
the front of the open fireplace at the rear of the room, on the right, 
two men are playing cards and others look on. Near the front of 
the picture, towards the left, four men are gathered round a small 
table covered with a green cloth. One of them, as he stands filling 
his pipe, turns his head round with a smile, as if welcoming some one 
approaching from behind us, and his companions also show varying 
degrees of interest in the same appearance. To the right of the fore- 
ground is a brass-lined cooking pot on a stool, and a black and white 
dog is coming from behind a settle. 


Signed at the right. 
Height, 1734 inches ; length, 22 inches. 


Though Teniers was a Fleming by birth, the genre pictures in 
which he excelled place him in company with the “ little masters of 
Holland.” His favorite subjects were ale-house scenes, often enliv- 
ened with coarse humor, but usually beautiful in color and painted with 
a charming ease of brush work. 


HANS HOLBEIN, THE YOUNGER 


kk tof 54—Portrait of an Ecclesiastic 4 Woth, Ye 2 . 


The figure is seen against a pale greenish-blue background, as far 
as the waist, turned three-quarters round to its own right, but with 
the eyes looking straight out of the picture. Underneath a black 
velvet biretta the iron-gray hair falls over the ears. The black eyes 
are angular, with. thick hair thinning towards the outer edges. The 
nose is marked between the eyes with a deep, arched wrinkle; the upper 
lip is rather long, and, like the chin, covered with soft black and gray 
bristles ; and the thin lips of the wide mouth are set firm together. The 
costume is a black velvet robe edged with brown fur, over which falls a 
broad silk stole. On the forefinger of the left hand is a ring, prob- 
ably the signet of’a bishop, and the second finger forms a curved sup- 
port for a little volume with reddish-gold leaves and silver clasp, and 
gold tooling on its brown leather cover. The forefinger of the right 
hand is laid upon the top corner of the book. 


In the upper left corner is the date A.D. 1529, and in the upper right, Aet. 74. 
Height, 233/ inches ; width, 15 inches, 


From the collection of Sir Charles Lock Eastlake. 
From the collection of Sir Richard Gerrard. 


Hans Holbein, the Renaissance artist of Germany, was preéminent 
in the delineation of physiognomy and character; a realist of amazing 
veracity, who, notwithstanding his rendering of details, gave to his 
compositions a remarkable unity, dignified by a harmonious sobriety 
of color. Executed with an ease of draughtsmanship and with a com- 
bination of force and delicacy entirely free from mannerism, his por- 
traits speak direct to us and compel our sympathy by their unaffected 
humanness. ; 


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WILLEM VAN DE VELDE 


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55—A Fleet on Anchor Ground 


On the smooth, gray-bluish sea, surrounded by rowboats and 
smaller shipping, are three frigates. The one near the front has three 
tiers of guns, and another tier in her raised stern, which is decorated 
with gilded globes and has a red flag floating from it. A similar flag 
hangs at the foremast, and her dark, slaty sails are hanging loose. 
To the left of her another frigate, with white sails, is seen on end, and 
farther off, on the right, a third stretches across the picture. In the 
distance appears a low line of coast, and overhead creamy billows of 
cloud move against the blue sky. 


Height, 25 inches ; length, 30 inches. 


Willem Van de Velde stands at the head of the Dutch marine 
painters of the seventeenth century. His preference was for quiet 
havens where the ships, with drooping sails, lie lazily on the calm 
water, and his pictures are distinguished by the serenity of their deli- 
cate harmonies of sober gray. 


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JAN VAN GOYEN 


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56—On the Banks of the Meuse 


A sheet of water, dotted with boats, is bounded by a low, horizontal 
stretch of shore lined with buildings, among which are windmills, a 
church, and a tower covered with a circular roof and cupola. At the 
end of this spit of land shipping is moored. Near the front, on the 
left, a boat, with several men on board, is drawing near a smack that, 
crowded with fishermen, has just caught the wind in her sails. In the 
immediate foreground, on the right, a boat with three men in it is 
being made fast to a post. ; 


Signed on a boat, at the right, “‘V. G.,” and dated 1652. 
Height, 2434 inches ; length, 38% inches. 


From the collection of Max Kann, Paris. 


During his ripest period Van Goyen subordinated color to tone. 
He delighted in browns and grays, in a quiet luminousness of color 
and dreamy restfulness of feeling, and was conspicuously clever in 
the rendering of lineal and aérial perspective. 


Jw 
REMBRANDT VAN RYN 4 3 44 — 


57—The Accountant 


The figure of a man of middle age, in a red costume, set against a 
dark-olive background, is seen as far as the waist, holding a pen in his 
right hand and resting the left on a large book which lies open on a 
desk in front of him. The body is inclined slightly forward, with the 
weight a little on the left hand, and the face looking up, three-quarters 
full. It is fresh in color, the flesh honeycombed with minute depres- 
sions; the eyes far apart, rather deeply set, rimmed with red, and 
watery; the nose long; and the mouth broad and firm, with a thin 
brown mustache. Brown locks show beneath the yellow-brown cap, 
edged with vermilion, which is decorated with a jewel and has a rim 
of pearls above the forehead. The vertical plaits of a white shirt ap- 
pear above an olive-brown vest laced across the front, and over this is 
worn an orange-red gown, with full crimson sleeves and white cuffs. 
The light is from the left of the picture, touching the side of the cap 
and face, the shoulder and breast, the right cuff, and tip of the book. 


Height, 4054 inches ; width, 34 inches. 


Engraved by W. Humphrey. 

Described in Smith’s “ Catalogue Raisonné,” Part VII., page 102, 
No. 275. Ascribed to 1658. 

Described in E. Michel’s “‘ Rembrandt,” Vol. IT., page 247. 

Described in Dr. Bode’s “ The Complete Works of Rembrandt.” 

From the collection of Sir Joshua Reynolds, 1795. 

From the collection of Thomas Hardman, Esq., Manchester, 1838. 


sees asa siden he eiund for wane a manner aa: ang and 


shade, at once broad and mysteriously subtle, that absolutely. con: 
formed to his conception of a portrait, to its bold and vigorous char? 
acterization, and to its intimate comprehension of the inner personality. 
No painter has ever put more humanity into his men and women’s 
faces—a humanity at once of such everyday simplicity and yet of such ac 
dignity and irresistible appeal to sympathy. For he penetrated 1 
neath the surface of things to the mystery of character, the complexi 
of good and bad, of big and little, the tragedy, pathos, and humor t 
make up the sum of man or woman; and each of his portraits is isa 
of our common humanity. 


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—Cavaliers on a Road in Holland 


Above a low horizon of faint hills mounts a dove-gray, vapory sky, 
breaking, high up on the left, into a circle of creamy clouds that catch 
the light. The sunshine streams softly over a broad, sandy road, 
which passes from the front of the picture, between two sloping banks 
covered with trees, and disappears to the right, leading on to a little 
walled town that stands on the edge of a river. Near the bend of the 
road is a herdsman driving some cattle; coming towards us is a 
countryman carrying a jug, his coat hanging from a stick on his 
shoulder; and nearer still, on the right, are two cavaliers on gray 
horses. They have halted, while one of them, who wears a plum- 
colored doublet, and is said to be a portrait of the artist, points along 
the road with his whip, giving directions to a bareheaded man at his 
side, surrounded by some dogs. In the centre are some goats and 


sheep, and to the left of them a shepherd, in a red waistcoat, leaning on 


his staff, with a black dog beside him. 


Signed at the left. : 
Height, 42 inches ; width, 36 inches. 
From the Muran Collection; H. H. Erichmann, Leyden. 

From the Madame Gijsbarti Hoctenyiji Collection, Leyden, 1872. 
From the Count Demidoff Collection. 


nature, and was ever on the lookout ian accidental combinations aa 7 
forms, which give to his landscapes an unquestionable distinction. x @ 
His temperament directed him to tranquil, sunny scenes, hazy with | Bi, 
atmosphere or basking in quiet sunshine. He was Rae 
man, delighting in the texture as well as the form of o jects, and — 
skilled in giving animation and vigor to the figures of animals that ‘ho 
introduces. Of all the older masters of Holland, none has rendered Ks 
more convincingly the tranquil beauty of the Dutch countryside, | its a 
placid waters and rich pastures, or the happy one and going ott its a ae 
people. 


Cad. 


JACOB VAN RUYSDAEL 


59—A Wooded Landscape 


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On a road approaching a wooded, rocky ascent, a falconer, with 
hawks perched on the square frame suspended from his shoulders, and 
with two greyhounds at his heels, is following a cavalier. The latter, 
riding a gray horse and carrying a falcon on his wrist, has turned aside 
along the road which skirts the foot of the rocks, and disappears at 
a corner, overspread with two delicate green trees, to the right of 
which, in the distance, is a glimpse of level country beneath a greenish- 
blue sky, streaked with creamy clouds. On the left of the picture the 
road narrows into a steep path, which winds up round the bowlders and 
trees and vanishes in a thicket of foliage. Two men and a dog are 
mounting this, and on a ledge above them is a well, at which a woman 
is drawing water, while a man gives his ass a drink. A little higher 
up is a small cottage among the trees. 


Signed at the right, with the monogram J. R. 
Height, 39 inches; length, 50 inches. 


Ruysdael’s imagination was kindled by the romantic scenery of 
Everdingen, a region abounding in rocks, torrents, and luxuriant dark 
foliage, the wild grandeur of which is contrasted with the delicacy of 
the gray-green sky. His pictures of this neighborhood have a bigness 
of composition, a rich sobriety of color, and an earnest strain of poetry. 
He ranks with Hobbema among the greatest of the Dutch landscap- 
ists of the seventeenth century; and Fromentin, artist and critic, writes 
of him in his “‘ Maitres d’Autrefois”’: “ Of all the Dutch painters, Ruys- 
dael is he who most nobly resembles his own country. There is in his 
work a largeness, a sadness, a placidity a little gloomy, a charm 
monotonous and tranquil.” 


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TITIAN (TIZIANO VECELLI) 


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* t 60—Portrait of Philip II. of Spain : VAs 


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(A replica of the celebrated portrait in the Museum at Naples.) 


The figure is shown full length, three-quarters face, inclined to the 
left of the picture. The short, brown hair, growing V-wise from the 
forehead, is brushed back; the eyebrows are delicately arched over 
full-lidded eyes; the nose is long and delicate; the upper lip, short and 
feathered with soft, yellow hair, which also grows thinly over the 
cheek and is cut to a point below the full, red lips. The costume con- 
sists of an olive-brown velvet doublet, with full sleeves of dull gold 
and green stripes, tapering to the wrists over an under garment of 
white satin, decorated with vertical rows of gold lace and gold em- 
broidered leaves, below which are slashed trunks of the same material, 
meeting, a little above the knee, white silk stockings, that terminate 
in strapped shoes of soft, white leather. The left hand, holding a pair 
of fawn-colored gloves, rests upon the hilt of a rapier, while the right, 
drawn up nearer to the waist, closes over the handle of a poniard. 

(Philip IT., the son of the Emperor Charles and Isabella of Portugal, 
was born in 1527. He married Mary, Queen of England, in 1554, and 
died in 1598.) 


Height, 75 inches; width, 43% inches. 


From the Blenheim Palace, Duke of Marlborough’s Collection. 
From Martin H. Colneghi, London. 


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erin his portraits Titian represents humanity in its noblest and most 
beautiful form, giving to his subjects, as the Italians say, grandezza, 
a conscious and yet perfectly natural and acceptable superiority. So 
great, also; was his power of intellect, that he fathoms the personality 
of his subjects and reveals them as individual men and women with 
their own separateness of distinction. The rendering of flesh was 
ever one of his great achievements. He gave the lustre of the skin— 
its warmth, its pearliness and light, and revelled, also, in the gorgeous- 
ness,of fabric-arid texture that belonged to the costumes of the day. 
And, with all his strength and ardor, his method is controlled. He 
does not seek to exploit his own achievement, but to render his mag- 
nificent conception of the personality unified, complete, and true. 


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BARTOLOME ESTEBAN MURILLO 


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61—The Immaculate Conception _ : 


Poised in an atmosphere of luminous gold, a circlet of twelve stars 
above her head, the Virgin rests her feet upon a sphere, around which 
are clouds supporting angel children. Her head is slightly bowed, 
the eyes look upwards, and her hands are brought together at the 
finger tips and upraised in a gesture of adoration. The golden-brown 
hair, falling in waves upon the shoulders, is separated over the right 
arm into two streams, one of which floats behind, while the other lies 
upon the breast. Her white robe, fitting the body and cut circular 
below the neck, has loose, straight sleeves, and hangs in long, clinging 
folds. From her left arm depends a deep-green drapery of silk, one 
end of which floats downwards across the skirt, while the other, pass- 
ing behind the body, reappears on the left in a volume of rich folds. 
Peering from between these two masses of drapery is a little angel; 
two more heads appear in the clouds below the sphere, and on the 
right are three more angels, one of which, poised in the air, holds up 
a scroll with the inscription: ““ NON PRO TE SED PRO OMNIBUS HAEC LEX 
CONSTITUTA EST 19.” The subject is a variation on Murillo’s favorite 


theme, examples of which are in the Gallery of the Louvre, and at 
Seville, Cadiz, and Madrid. 


Height, 985% inches ; width, 703/ inches. 


From the Count Altamira Collection. 
From the Coesvelt Collection, 1840, and engraved by Joubert in 
1835. | 


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Exhibited at the British Institute, 1863, and at Burlington House, 
1871. 

Described in Curtis’s “ Velasquez and Murillo,” page 132, No 7. 

From the collection of Mrs. George Perkins, London, 1887. 

From the collection of Sir Lewis Jarvis, London, 1890. 

Praised by Passavant in his “ Tour of a German Artist,” Vol. L, 
page 186. 


Murillo’s sympathies were with the people. First he paints the 
humble folk themselves, and later embodies in his pictures their re- 
ligious beliefs. His Madonnas have a haunting sense of modesty and 
gentle self-distrust very near to the gospel story in their simple, inno- 
cent surrender to the Miracle of Miracles. Sensitively refined in draw- 
ing, with a tender severity of color that moves by its purity and 
luminousness, he reaches an-elevation of religious feeling that is not 
so much a fervor of adoration as an almost plaintive ecstasy. His 
daughter took the veil eight years before his death, and something 
of her yearning her father seems to have caught and put into his 
Madonnas. 


AMERICAN ART ASSOCIATION, 
MANAGERS. 


THOMAS E. KIRBY, 
AUCTIONEER. 


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